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MOLlfiRE 




PLAYS BY 
PHILIP MOELLER 

MADAME SAND 

FIVE SOMEWHAT HISTORICAL PLAYS 

MOLIERE 



M L I E R E 

A Romantic Play 
in Three Acts 



by 

PHILIP MOELLER 




New York 

ALFRED • A • KNOPF 

MCMXIX 



COPYRIGHT, 1919, BY 
PHIUP MOELLER 



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In their present form these plays are dedicated to the 
reading public only, and no performances of them may be 
given without the permission of the author who may be 
addressed in care of the publisher. Any piracy or infringe- 
ment will be prosecuted in accordance with the penalties 
provided by the United States Statutes: — 

Sec. 4966. — Any person publicly performing or represent- 
ing any dramatic or musical composition, for which copy- 
righit has been obtained, without the consent of the proprie- 
tor of the said dramatic or musical composition, or his heirs 
or assigns, shall be liable for damages therefor, such dam- 
ages in all cases to be assessed at such sum, not less than 
one hundred dollars for the first and fifty dollars for every 
subsequent performance, as to the Court shall appear to be 
just. If the unlawful performance and representation be 
wilful and for profit, such person or persons shall be guilty 
of a misdemeanor, and upon conviction be imprisoned for a 
period not exceeding one year. — U. S. Revised Statutes 
Title 60, Chap. 3. 



FEINTED IN THE tTNITBD STATES OV AMERICA 



APR -8 1919 



Gratefully 
to 

Henry Miller 

with thanks for his 

sympathetic help 

in the making 

of my play 




WEEK COMMENCING FEBRUARY 24, 1919 

MAlDINEES WEDNESDAY AND SATURDAY 

HENRY MILLER 
BLANCHE BATES 
HOLBROOK BLINN 
ESTELLE WINWOOD 

IN 

"MOLIERE" 

A PI/AY IN THREE ACTS 
BY PHILIP MOELLER 

THE CHARACTERS IN ACT I. ARE: 

BARON, a young member of Moliere's company .... 

JAMES P. HAGBN 
LA FOREST, Moliere's cook and friend. .ALICE GALE 

ARMANDE BEJART, Moliere's wife 

ESTELLE WINWOOD 

MOLIERE HENRY MILLER 

GOLINGE, an old actor FORREST ROBINSON 

DE LUZON, a courtier FREDERICK ROLAND 

THE KING'S CHAMBERLAIN. . . .WILLARD BARTON 

LOUIS XIV., King of France HOLBROOK ELINN 

FRANCOISE, MARQUISE DE MONTESPAN, the 

King's Mistress. BLANCHE BATES 

LA FONTAINE SIDNEY HERBERT 

The scene is Moliere's study in his theatre at the 
Palais Royal, Paris. 

The time is a morning in September, 1672. 



PROGRAM OF THE FIRST PERFORMANCE, FEBRUARY 24, 1919 
AT FORD'S THEATRE, BALTIMORE, MD. 



THE CHARACTERS IN ACT II. ARE: 

liA FONTAINE SIDNEY HERBERT 

PRANCOISE, MARQUISE DE MONTESPAN 

BLANCHE BATES 
HERGUIiES, a black boy, page to Madame de Mon- 

tespan KEMO BUFANO 

GIOVANNI LULLI, the court musician. .PAUL DOUCET 

FIRST LADY IN WAITING TO DE MONTESPAN 

MARY PYNE 
SECOND LADY IN WAITING TO DE MONTESPAN 

MARGERY CARD 

A LACKEY WILLIAM ROBINS 

MOLIBRE HENRY MILLER 

LOUIS XIV HOLBROOK BLINN 

The scene is the apartments of Madame de Mon> 
tespan. 

The time is twilight of the same day as Act I. 

THE CHARACTERS IN ACT III. ARE: 

CLAUDE CHAPELLE, a friend of Moliere 

VINCENT CHAMBERS 

LA FONTAINE SIDNEY HERBERT 

LA FOREST ALICE GALE 

A DOCTOR WALLACE ROBERTS 

COLINGE FORREST ROBINSON 

BARON JAMES P. HAGEN 

MOLIERE HENRY MILLER 

ARMANDE BBJART. ESTELLE WINWOOD 

THE KING'S CHAMBERLAIN WILLARD BARTON 

LOUIS XIV HOLBROOK BLINN 

The scene is the same as Act I. 

The time is before, during and after the fourth per' 
formance of Moliere's "Imaginary Invalid," February, 
1673. 

During Act III. the curtain is lowered to denote th8 
passing of two hours' time. 

Scenery designed by Lee Simonson. Costumes de- 
signed by RoUo Peters and executed by Mme. Freisinger, 
Incidental music composed by Cassius Freeborn. 



ACT 1 



The Characters in Act I Are 

Baron, a lad of seventeen, a member of Molieres 
Company. 

La Forest, a ivoman of sixty-eight, Molieres cook 
and friend. 

Armande Bejart, Moliere's wife. 

Jean Baptiste Poquelin, known to the world as 
Moliere. 

CoLiNGE, an old actor, a member of the troupe 
since the beginning. 

De Lauzun, a young Courtier. 

The King's Chamberlain. 

Louis XIV, King of France. 

Francoise Athenais de Montespan, the Kings 
Mistress. 

La Fontaine, the Writer of the Fables, 

and 

Several Courtiers and one or two Ladies in Wait- 
ing to de Montespan. 

The scene is Moliere s Study in his Theatre at the 
Palais Royal in Paris. 

The time of the action of Act 1 is the morning of 
a day in September, 1672. 



ACT I 

Moliere's study in his theatre at the Palais Royal. 
A room of quiet magnificence and careful 
luxury. About are beautiful bits of furniture 
and in the walls shelves from which gleam the 
silent faces of the best in books. In a corner 
is an antique chest from which hang the ends 
of rich costumes. In the centre the work 
table of the Master on which is a pile of 
sheets of an unfinished masterpiece. A door 
down right leads to the entrance from the 
street. In ba^k in the centre is the door to 
Moliere's dressing room. In the left wall, 
down front, is a big door giving on the stage 
of the theatre. The room is flooded with 
sunlight that streams in thru the mullioned 
windows and one is open and a piercing shaft 
of light falls upon the comer of the table 
where lies the manuscript of "The Misan- 
thrope." In a corner of the room are some 
empty bottles and two or three hampers from 
the pastry-cook, the remnants of the feast of 
the night before. When the curtain lifts 



10 MOLIERE [Act I 

Baron is discovered asleep in the window 
niche. A church bell from a neighbouring 
tower sounds ten. A seller of cakes passing 
in the streets cries his wares. A bell in the 
farther distance sounds the hour. The boy 
sits up and rubs his eyes. "Cakes, pastries," 
calls the voice of the vendor. 

Baron 

[Leaning out of the window.^ 
Are you calling me? What? What? 

The Voice 
Cakes, Madeleines, delicious pastries. 

Baron 

None, good-morning, thank you, I'm too full of 
last night. 

[The voice dies away in the distance and 
the boy yawningly falls back to sleep. A mo- 
ment later La Forest enters and begins bus- 
tling about arranging the room in order. The 
sight of the hampers and the bottles angers 
her. At first she does not see Baron but as 
she passes the window niche he moves in his 
sleep.] 

La Forest 

Wake up, it's past the hour. 



Act I] MOLIERE 11 

Baron 
[Sitting up.] 
Eh? 

La Forest 
Out with you now. 

Baron 

Here's where I fell asleep in the midst of the 
party yesterday evening. 

La Forest 

Well, yesterday evening's over. It's a wonder 
what he has you about for at all, drinking his wine 
and wasting his hours. 

Baron 

Why shouldn't I be here? Have you forgotten 
I'm a member of the troupe of Moliere? 

La Forest 

La, la, you little upstart! If I had my way I'd 
spank you to death, hang you out to dry and then 
send you off for a year to make love to the cows in 
Scotland. 

Baron 

There's likelier meat for love right here in Paris. 
And besides, I'll not be answered by you. I'm an 
artist stnd you're only a cook. 



12 MOLIERE [Act I 

La Forest 
[Laughing.] 
An artist, indeed, you and your seventeen years. 
One would think you as great as the master. 

Baron 

Some day, perhaps, I'll be greater. 

La Forest 
Some day I'll be Queen of France. 

Baron 

Not with your face, my darling, though I tell you 
the queen is no beauty. But Madame de Monte- 
span, ah, she is as fair as the day. Do you know 
what they're whispering of her, my nymph of the 
pantries? 

La Forest 

No, get up and get out. 

Baron 

It's this, my princess of stews. [Then very 
mysteriously.] They say that whilst she gives 
gifts to one Moliere's wife, she'd rather be giving 
her love to Moliere. 

La Forest 

Begone now, you with your dirty talk of the 
courts. 



Act I] MOLIERE 13 

Baron 

When you're as wise as I, La Forest, you will 
know that the Court and its master, the King, is 
the sun by which we live, all of us, even the great 
Moliere. 

La Forest 

The great Moliere, indeed. God help him. 
He ought to be off in the country getting the good 
of the air and not here in the stench of the Court 
and the stench of the city, and up 'till dawn with 
you and the others. Madame, his wife, was sing- 
ing, I suppose? 

Baron 

Like the lifting lark till the bells rang four and 
I tumbled off to sleep. Where's your master? 

La Forest 

Out lon^ since. He was pacing his room till 
morning and now he's down by the river talking to 
the barge men. He likes to mix with the crowds 
when there's something that knocks in his head that 
he doesn't want to hear. Madame was gay, you 
say? 

Baron 
And he, he too. 

La Forest 

The doctors have warned him. He's always so 



14 MOLIERE [Act I 

weary when you're back from playing at the palace 
and then up till dawn, night in and night out. If 
he'd only listen to me. 

Baron 
[Jeeringlj.] 
You! 

La Forest 

If he doesn't — ^well — 

Baron 

My poor La Forest. What a little soul is yours! 
To be bothering about what may happen when life 
at the moment's gay. God should kill all ravens 
like you who croak when the sun is shining. 

La Forest 

Maybe you're right, my lad. Why, look how the 
beams hit the table there where he works. Why, 
that's a good omen. [Then at the table, and it 
might be a shrine at which she stood] Look, the 
sunlight's all about the play he's writing. 

Baron 

[Untouched by the beauty of her elation.] 
I hope there's a fine fat part for me. 

La Forest 
[Proudly.] 
I'm to hear it this morning. 



Act I] MOLIERE 15 

Baron 
You, his cook? 

La Forest 
Yes, I, his cook. I hear what he's written even 
before the King of France. 

Baron 
[With a wry grimace, touching his fore- 
head.] 
There's a little bit wrong with the wisest. 

La Forest 
And often he'll change the parts that don't suit 
me. 

Baron 
And if he doesn't, I suppose you'll put poison in 
his broth? Is it that, or tell me in confidence, does 
he love you? 

La Forest 
I've been with him twenty years [And her voice 
is quivering a little] and it's I do the loving. 
Twenty years and now I know there's something 
eating his heart. 

Baron 
You mean the talk about Madame Armande? 

La Forest 
[Swiftly.] 
There's nothing to that. 



16 MOLIERE [Act I 

Baron 

Think so, my friend? Ah, what a fool is the 
great Moliere! I do not think he will like his 
crown of horns; but love sees all and love sees 
nothing. 

La Forest 

What do you know of love? 

Baron 

I'm only seventeen but I've had four affairs to 
my credit, with one to discredit the other four, for 
she was old enough to be the aunt of my mother's 
aunt. What a mess of kissing is life. La Forest! 

La Forest 

If there be any truth in this talk about Madame, 
his wife, God knows what will happen. No one 
has ever loved as he. 

Baron 

Old lady, I see you're determined to be un- 
happy and now I'll give you some cause. 

La Forest 
What? 

Baron 

Something else, my dearie. 



Act I] MOLIERE 17 

La Forest 

What, for the grace of God! Has there been 
trouble with the King? 

Baron 

Something that in the end is more mighty than 
that. Come closer and I'll whisper to you. 

La Forest 
What is it? 

Baron ' 

[Very seriously.] 
I'm thinking of leaving the troupe of Moliere. 

La Forest 

So? 

Baron 

Do you think he'll be able to survive it? 

La Forest 

Go, and good riddance to you. What were you, 
you imp of the gutter, when he took you in and 
made you a member of the troupe of Moliere? 

Baron 

[Strutting about.] 
There's a shift in fashions. The Court's gone 
classical again. Moliere is getting old fashioned. 
I'm signing with the company at the Bourgogne. 



18 MOLIERE [Act I 

La. Forest 
You're jesting, my little Baron. 

Baron 

No, it's true. 

La Forest 
He has been your friend. It will hurt him to 
the quick. 

Baron 

See that Madame, his wife, hurts him less. 

La Forest 
All that about his wife's a lie, I tell you. 

Baron 
Wait and see. Each for himself in this world 
and the devil for those who aren't. Why, there's 
not one in all the troupe but knows. Even Colinge, 
who plays the fools and is one, is wiser than Moli- 
ere when it comes to Madame Armande. 

La Forest 
If you weren't such a child I'd beat you. 

Baron 

Beat, as you will, but the truth abides. 

La Forest 

You filthy little thing you! 

[She is about to strike him.'] 



Act I] MOLIERE 19 

Baron 

Look out, old lady, Christ will never forgive you 
if you hurt a genius. 

[He has run around the table, La Forest 
after him as Armande enters. She is but lit- 
tle past twenty, fresh and exquisite, impetu- 
ous, wilful and passionate, but in the depths 
of her nature, as yet unstable and unformed, 
are hidden possibilities of deep tenderness 
and an acute sensibility to pain.^ 

Baron 

[As La Forest is very close to him.] 
Look out! Look out! 

Armande 

You're still here. Baron. What's the matter? 
Why the noise? 

Baron 

[Breathless.] 
We're in hot dispute, this tender thing and I, 
about the classics. She's hectic for Homer whilst 
I [he's gasping], I'm middling warm for Vergil. 

La Forest 

[Her arm lifted.] 
You, you! 



20 MOLIERE [Act I 

Baron 

What's your opinion, Madame? 

Armande 

My opinion is that you'd best go before my hus- 
band's back. He'll want quiet for his work. 

La Forest 

[T^o Baron.] 
Yes, get out. Madame, the master is to read to 
me this morning. 

Armande 
Maybe not this morning, La Forest. 

La Forest 

Ah, yes, indeed, Madame. That's never 
changed. It's Wednesday and for twenty years 
he's always read to me on Wednesdays. He 
wouldn't give it up even if the King were coming. 

Armande 
He is. 

Baron 

[In amazement. 1 
What? 

La Forest 
He is, Madame? 



Act I] MOLIERE 21 

Armande 

The priests are up in arms against Jean's play, 
"TartufFe." 

La Forest 

[In a temper.] 
The devil damn them all. Why, it's so funny 
one dies laughing but to hear it. 

Armande 

The priests find libel in it and so His Majesty's 
coming to hear some scenes this morning and to 
decide whether or no he'll grant us right to play it. 

La Forest 

Leave that to Moliere, Madame; there's nothing 
in the world he cannot do. 

Baron 

Nothing, save one. 

Armande 
What's that, my little Baron? 

Baron 
Keep for himself what isn't his. Madame, you 
understand me. 

Armande 
[Resenting the imputation in his tone.] 
That's very cryptic. 



22 MOLIERE [Act I 

Baron 

Search in your heart and see if you can't find the 
key. And now good-day to you for I haven't eaten 
since five this morning. 
[And he exits. '\ 

Armande 
I do not like Baron. 

La Forest 
The love that's lost between you wouldn't make 
straw for a swallow's nest. 

Armande 
"What do you think he meant, La Forest? 

La Forest 
Madame, I do not know. 

Armande 

Yes, you do. What, what? He is jealous of 
my success, isn't he? 

La Forest 
Perhaps. 

Armande 
Jean must be rid of him. 

La Forest 
That will be easy for he's going. 



Act I] MOLIERE 23 

Armande 

Going? Is he the first rat to leave the ship? 
There are rumours, La Forest. 

La Forest 
[Pointedly.] 
Yes, of all sorts, Madame. Is there a cause? 

Armande 
What do you mean? 

La Forest 
Rumours of what? 

Armande 

That the troupe of Moliere is losing favour. 
The church would crush him and there's talk that 
Jean grows too arrogant. Why, after the ballet on 
Saturday at Chambord the King's Mistress sent for 
Jean to hear his latest play. [La Forest suddenly 
looks up.] But he was too weary. La Forest, would 
you believe it, too weary to go. 

La Forest 
Was he, Madame? 

Armande 
Yes. Only a very foolish man could have been 
as weary as that. Think what her interest may 
mean to us. 






24 MOLIERE [Act I 

La Forest 

Madame, you were a little child and you do not 
remember but he was happier in the old days when 
we trouped from town to town and our thoughts 
were never bent on kings. 

Armande 

Those days are over. Now he is in and being 
in must stay. 

La Forest 

Monsieur La Fontaine says that the Master 
wastes his genius on these ballets that he's for ever 
writing for the King. 

Armande 

No chance should be forfeited at Court. In a 
few months our place may be less secure than now. 
LuUi is plotting against Moliere. Jean must bend 
before his Majesty for there's a saying. La Forest, 
that a King's favour is a ladder that trembles when 
one would climb. 

La Forest 

[Hot with sudden honesty.^ 
Would to God it might fall, Madame ; can't you 
see what is happening? He is ill. Urge him to 
give up this endless work. The doctors have 
warned him. Go with him to Auteuil. It is quiet 
there out in the open. I've not been with him all 



Act I] MOLIERE 25 

these years for nothing. I know that unless you 
go— 

Armande 

In a month. La Forest, there will be time. You 
do not understand me, even you who have been my 
nurse. I am not doing this for myself but for 
Jean. 

La Forest 

Madame, you are a member of the troupe of 
Moliere. 

Armande 
IBitterly.] 

The troupe of Moliere. Yes, from the begin- 
ning. I was born in the lap of the troupe of Moli- 
ere. All I can remember is this life of the theatre. 
Don't you imagine that there are days when I would 
rush for ever from the grey sameness of it all? 
Have you never thought that I, — I, want to be some- 
thing besides the wife of a genius, the puppet of his 
endless imaginings? The troupe of Moliere [and 
her voice is vibrant], God, would that I were done 
with it. 

La Forest 

Madame, Madame! 

Armande 

No sooner are we back from the Palace than I'm 
hungry for the luxury of it all, for mornings that 



26 MOLIERE [Act I 

do not mean rehearsals and for days that do not 
mean the endless study of his endless parts. 

La Forest 
Madame, your husband is the greatest man in 
France. 

Armande 
Is it because of that that you think I'm the happi- 
est wife in Europe? 

La Forest 

I have watched you ever since your childhood. 
I have seen little by little this fame come to you, to 
him. Madame, I think it has come but to crowd 
out peace. 

Armande 

Ah, I want to make an end of it. It's all so full 
that it is empty. It is he that will not give it up, he. 
You do not know your master as I know him. I 
am very young. La Forest, but there come moments 
when I am as old as an aged woman who has never 
known joy, whose heart is crying out for the happi- 
ness that she has never known. 

La Forest 

Back in the peace of Auteuil you will both find 
rest. 

Armande 
No, I am too young for silence. It will be terri- 



Act I] MOLIERE 27 

ble being alone with him. I'm weary of being the 
shadow of another even though that other be Moli- 
ere. 

La Forest 

Madame, no good can come of this. We must 
make the best of what fate has made us. 

Armande 

[And her voice stings.^ 
Because you believe that, you are still a servant. 

La Forest 
[Quietly.] 
It is because I believe that that God has given 
me my happiness. 

Armande 

[She is sobbing.] 
Happiness; yes, that is the right of each of us 
and I shall find my own. 

La Forest 
[Pleading.] 
Madame, madame, not at the price of wounding 
him. 

Armande 

There are moments when no price is too high to 
pay. 



28 MOLIERE [Act I 

La Forest 

Madame, be careful; I hear him coming. 

[And MoLiERE stands in the room. He is 
one of those extraordinary men that one feels 
as a "presence." He must be played at times 
with quiet power and at times with all the 
glamour and colour of romance. One must 
feel behind his every gesture the flash of his 
commanding mind. He must personify by 
multitudinous nuances the comedy, if not the 
tragedy, of such a mind's slavery to an over- 
sensitive and ever-present introspection. Un- 
der the superficial, fascinating charm of his 
actor s manner must be felt the dominant 
power of his vitally experienced and mellowed 
personality. His soul is of the sort that can 
think in intense clarity of human generalities 
and at the same moment feel to a degree of 
tragic poignancy, a sorrow or a happiness 
when he himself is touched. His intense en- 
ergy, always spent at high pitch, hangs poised 
half way between an almost blind adoration 
of his wife and an unflagging enthusiasm for 
his work as actor and as dramatist.] 

MOLIERE 

Armande, you're early up. ^ 



Act I] MOLIERE 29 

Armande 

I've come to rehearse with Le Grange. The oth- 
ers are there too, on the stage, waiting to play the 
scenes for the King. 

MOLIERE 

And you. La Forest, are you here to sing a ballad 
for His Majesty? 

La Forest 

[In an offended tone.^ 
Have you forgotten that it's Wednesday? 

Moliere 

Why, so it is. The play is ready. [And he 
points to the table.] But first take away these ham- 
pers and these bottles. [La Forest begins collect- 
ing them.] I do not like a room after a feast. 
It's like a theatre when the play is over. Some- 
thing that has been is dead. Quick, La Forest; I 
will call you when I am ready. 

La Forest 

[Scolding.] 
See that you're not too long about it. 

Moliere 
[Smiling.] 
Oh, look here, don't scold. 



30 MOLIERE [Act I 

La Forest 
You're sitting up too late. 

MOLIERE 

I promise to reform. 

La Forest 
When? 

MOLIERE 

Tomorrow. 

La Forest 
Tomorrow is the paradise of fools. 

MOLIERE 

Right, right, my friend ! It's the moment's faith 
that matters. For the past has sung itself to sleep 
and the future is life's gamble. Now, look here, 
La Forest, you can't carry all those at once. 

[For the old woman is bent under the 
weight of the hampers.] 

La Forest 

Didn't you say to hurry? No, I can manage 
these alone. 

[And she totters out.] 

Moliere 

God bless her, I think she could sweep out hell 
in seven days. 



Act I] MOLIERE 31 

Armande 
Sometimes her tongue is too free. 

MOLIERE 

Let her go babbling to the end, Armande, — her 
heart is right. And now, good morning, Armande. 
[And he holds out his arms to her.] 

Armande 

So, I've forgotten. 

[And then she is over next to him and kisses 
him as a child might kiss its father.] 

MOLIERE 

You are tired. We supped too late last night. 

Armande 

No. La Fontaine was never more amusing and 
Chapelle too. He finished all the bottles, 
[She turns to go.] 

MOLIERE 

Armande. 

Armande 
What is it, Jean? 

MOLIERE 

Why are you in such a haste to go? 



32 MOLIERE [Act I 

Armande 
I told you Le Grange is waiting. 

MOLIERE 

[And his voice is stern.] 
And so am I. 

Armande 

For what? For what? 

Moliere 
There's a quality in me that's rare in dramatists. 

Armande 

[With just a tinge of irony.] 
Well, I'll sit down if it's to be a dissertation. 

Moliere 

No, for brevity will spare you that. Perhaps 
you've noticed that in my plays I hasten to essen- 
tials. 

Armande 

[Smiling.] 
Yes, Jean, I've played in many. 

Moliere 

[Stepping closer to her.] 
And so in life too. Armande, what has come 
between us? 



Act I] MOLIERE 33 

Armande 
I do not understand. 

MOLIERE 

Nor I. For days, for months I've been watching 
you. Fancies, I thought, perhaps of my too eager 
love. And then on Saturday at Chambord hints 
and almost certitudes, and now on all sides whis- 
pers of what my heart is trembling to believe. 

Armande 
What, Jean, what? 

[And she is looking straight at him.] 

MOLIERE 

Nothing, nothing; you're right. What should 
there be? 

Armande 

Now may I go? The lines are difficult. Le 
Grange is waiting. 

MOLIERE 

Yes. 

[She turns from him, then as she reaches 
the door that leads to the stage.] 

MOLIERE 

Armande! 

Armande 
[Turning.] 

Yes? 



34 


MOLIERE 

MOLIERE 






[Act 


I 


Is there something you would 
silence? 

Armande 

No. 


spare 


me 


by your 



MOLIERE 

Then I've misjudged you. 

Armande 
You best had save these subtle fancies for your 
comedies. 

MOLIERE 

Last night your songs were over-shrill, your 
laughter over-gay. It has been like this since 
Chambord. When I look at you, Armande, you 
turn from me. [And then almost fiercely.] If 
there is some one who has intrigued your heart, for 
the love of God, tell me, Armande, tell me. 

Armande 
No one. No one. 

Moliere 
Armande. 

Armande 

You know I love you, Jean. 

Moliere 
I do, and that is why I speak freely to you all, 
that else a doubt would make me hesitate to say. 



Act I] MOLIERE 35 

Armande 
There is nothing, nothing. 

MOLIERE 

Armande, do not think I do not understand. 
Yes, I am older than you, but still I know the ter- 
rible swiftness of the will of youth when it desires. 
Do you know that they are whispering, they are 
hinting [and his voice is almost inaudible], hinting 
— that, De Lauzun — 

Armande 

[Starting back.] 
What! 

MOLIERE 

When Lulli speaks of him his lips sneer. 

Armande 
Lulli is your enemy and you still believe him. 

Moliere 

That is not all. When I passed with you under 
the trees at Chambord I heard the courtiers laugh- 
ing. You are the wife of an actor, Armande; you 
are an actress, and to their filthy minds that means 
that you are easily taken and that I, I, Moliere, 
should hide my head in silence and bend before 
the honour of their choice. Is no woman safe at 
Court? 



36 MOLIERE [Act I 

Armande 
None, except de Montespan. 

MOLIERE 

You're right. Where's honour in a court where 
she is honoured? 

Armande 
Be careful lest some one hear you. 

MOLIERE 

Oh, don't be frightened; the King's not coming 
yet. 

Armande 
She has been kind, Jean, to me, to you. 

Moliere 
To what purpose? We are but actors. 

Armande 

[Holding out a little fan.] 
As a sign of her favour she sent this fan to me. 
She would help us. 

Moliere 

Help? Do we then need help? Am I not Moli- 
ere? 

Armande 
La Valliere has fallen, Jean. De Montespan is 



Act I] MOLIERE 37 

nearest to the King. When she speaks it is France 
that listens. Remember the rival company at die 
Bourgogne. Some day we may need her. 

MOLIERE 

Need her. You too, Armande. Is the taint so 
easily taken then? Let my work speak for me and 
not the favour of any woman even though she be 
the Mistress of the King. Armande, let me see 
that fan. 

Armande 

[Drawing back for there is something in his 

tone that frightens her.] 

See how beautiful it is. She has written a motto 

on the panel. [And then she reads.] "She who 

flees her lover but flies to love." How beautiful it 

is! 

MOLIERE 

[Taking the fan and impetuously breaking 
it in his hand.] 

Armande 

[Her eyes filling with tears.] 
What have you done? What have you done? 

MOLIERE 

Forgive me, forgive me. [Then tenderly, his 
voice beseeching her.] Armande, if I am cruel it 
is my love that makes me cruel. If ever you are 



38 MOLIERE [Act I 

false to me, lie to me, lie to me, so that I may tell 
the world it lies. See now it's over, never again 
will I doubt you. Never. You still love me, Ar- 
mande? 

Armande 

As I have always loved you, Jean. See, your 
work awaits you. [She is over, next to the table.] 
Here at least there lurks no doubt, no bitterness. 
Don't, Jean, don't. It hurts me when you ask me 
to forgive you. Can't you understand? Don't. 
Don't. [And then at the door.] La Forest, your 
master is calling you. 

[And she exits to the stage and when La 
Forest enters Moliere is seated at his table.] 

MOLIERE 

So, to work. [He takes up a few sheets of the 
manuscript.] Where were we last Wednesday? 

La Forest 

The scene where your hero goes blind with jeal- 
ousy. What a fool he is for all his chatter. 

Moliere 
He's very like me, isn't he. La Forest? 

La Forest 

[Bluntly.] 
Yes, Master. 



Act I] MOLIERE 39 

MOLIERE , 

[Smiling.] 
You're frank, my ancient critic. 

La Forest 

You're both too honest, you and* your hero, this 
Alceste. Truth goes shivering in a world where 
lies are raiment. Master, don't harken all you 
hear. 

MOLIERE 

You're right. Well, sit down. 

La Forest 
[After a pause.] 
Master, I know what's troubling you. 

MOLIERE 

My comedy? Why, no, it's going well. Yes, 
here we are. [And he begins reading.] "Now 
Alceste rushes in with the letter in his hand." 

La Forest 

[Interrupting him.] 
I think he would be more of a gentleman if he 
walked in slowly. 

MOLIERE 

Perhaps you're right. Do you think I best had 
change it? 



40 MOLIERE [Act I 

La Forest 

[Impatiently.^ 
Why do you read to me if you don't intend to 
do as I say? You are a dramatist and you may 
know how to write plays but I am a cook and I 
know the public taste. I tell you to have him walk 
in. 

MOLIERE 

[Smiling, Jl 
But why? 

La Forest 

What a fool you are with your questions. If he 
rushes in don't you know he may trip on his sword 
and then they will laugh where you don't want them 
to. 

MOLIERE 

Yes, there's something to that, but he doesn't 
have to have a sword. 

La Forest 
Then there's no fighting? 

MOLIERE 

No. We have changed all that. 

La Forest 

I always tell you it will be difficult to make your 
plays interesting if there isn't any fighting. 



Act I] MOLIERE 41 

MOLIERE 

All of the fighting goes on in his doubts. 

La Forest 

So? 

MOLIERE 

Don't you know that the greatest battles are 
fought in the heart of man? 

La Forest 

That sounds well enough to say but will it be 
worth listening to in the theatre? 

Moliere 
That isn't in the play. 

La Forest 

Well, never mind if it is or isn't. Don't you 
know that all the great plays are about war and 
death? 

Moliere ^ 

[Laughing.] 
They used to be but now Moliere is in the field. 

La Forest 

You think very well of yourself, don't you, Mon- 
sieur? 

Moliere 
And you. La Forest, what do you think of me? 



42 MOLIERE [Act I 

La Forest 

I'll tell you when the play is written. 

[At this moment Colinge enters. He is an 
old man who has been from the beginning a 
member of Moliere's troupe, — a poor old 
played-out actor pathetically conscious that 
the end of his career is upon him. His adora- 
tion for Moliere is that of a faithful old dog 
for its master.^ 

Colinge 
Master, may I speak with you? 

La Forest 

Get out, Colinge. Can't you see that he's read- 
ing to me? 

Colinge 
Oh, I'd forgotten it was Wednesday. 

La Forest 

This time we'll both forgive you. 
[He turns to go.] 

Moliere 

Colinge, what is it? 

Colinge 
Master, can you spare a moment only? 



Act I] MOLIERE 43 

MOLIERE 

Of course, come in. 

La Forest 
[Resenting this.^ 
What! 

MOLIERE 

Now look here, La Forest, just because you are 
my critic you needn't think you own me bones and 
body. 

La Forest 
[Angry.] 
So ! You're going to let him interrupt your play 
so that you two cronies can sit and gab. Women 
have the name for chatter, but we are hard put to it 
to beat you men at gossip. 

Moliere 
Colinge, sit down. 

La Forest 
Well, sit down; can't you hear, Colinge? 

Moliere 
La Forest, I'll call you when I'm ready. 

La Forest 
See that you are not too long about it or I'll not 
listen to your stupid old comedy at all. 
[She exits.] 



44 MOLIERE [Act I 

MOLIERE , 

Well, Colinge, what is it? 

COLINGE 

Master — I — I — 

MOLIERE 

Yes? 

Colinge 

[Hesitantly.] 
Monday at rehearsal when I forgot my lines you 
didn't seem to notice it and yesterday when I 
couldn't get the words you passed it over tho the 
company sat snickering in the comer. 

MOLIERE 

I've written so many lines that I think the world 
can spare a few. 

[And he scratches out several on the page 
before him.] 

Colinge 

Master, that was at rehearsal; what — what — 
[and he is almost afraid to say it] — what if I 
should forget some day during a performance? 

Moliere 

They'll bless you if you slice it. Most plays 
are twice as good when half as long. 



Act I] MOLIERE 45 

COLINGE 

That is true of Racine maybe, but not Moliere. 
Master, what if all of the speeches should some day 
go from me? Last night I woke suddenly from a 
dream; the play had broken and the people jeered 
because Colinge could not go on. 

Moliere 

[Kindly, sweetly.^ 
Colinge, you were only dreaming. If that 
should happen they would never know. Just turn 
about and say: " 'Twas Wednesday last" or "Sir, 
your ribbons are awry" — or this or that, — just say 
it deeply with your voice in some new register and 
they will think the play's beginning over. 

Colinge 

[And a sob begins in his voice.] 
It's the first time it's happened in all the years 
I've played with you. 

Moliere 

[His arm about him.] 
It's about time you showed some temperament. 
The actor who is always perfect is no perfect actor. 

Colinge 

[Half tears, half laughter.} 
Master, you jest to spare me. 



46 MOLIERE [Act I 

MOLIERE 

I did not think my jests spared any one. 

COLINGE 

Don't hesitate to speak. I'd rather that you'd 
say it, sir, and it were over. 

MOLIERE 

What, Colinge? 

COLINGE 

What I dread to hear but when the day comes I 
suppose each of us must be ready. Say it, mas- 
ter [his voice is faltering] ; say that I am too old, 
say that the troupe of Moliere has no longer any 
use for me. 

Moliere 

Colinge ! 

Colinge 

r 

Your comedies are too neatly written for my 
stumbling head. It's time for me to take my cur- 
tain. 

Moliere 

My friend, for twenty seasons you have played 
with me and now because you miss a rhyme or two 
you think your use is over. Colinge, where would 
I find another whose art's so mellow and so tested 
by the years? Where would I find another whose 



Act I] MOLIERE 47 

listening is so eloquent as yours, whose humour is 
so rich yet never vulgar in its over ripeness? Co- 
linge, what would the troupe of Moliere do with- 
out you? 

COLINGE 

Master — 

Moliere 

IFor the old mans voice is next to tears.] 
Or have you perhaps had an offer from the com- 
pany at the Bourgogne? Is it thus you want to 
break the news to me? Well, God speed to you, 
my friend, and never forget the tricks that Moliere 
taught you. 

COLINGE 

Master, I never want to leave you. 

Moliere 

Well, don't whilst you are happy with me. 
You'll play a doctor in a comedy I plan to write, 
a comedy about a man who thinks that he's an in- 
valid. We're all fools to our thoughts, Colinge. 
My hero is to think he's dying of all the ailments 
in the index, my friend Colinge believes his playing 
days are done and I, Moliere, think that perhaps 
my wife — ah, well, at times this Moliere thinks too 
much. But now to work. 

[He is back at the Cable.] 



48 MOLIERE [Act I 

COLINGE 

Wait and see, master; I will not slip tomorrow. 

MOLIERE 

Of course you won't. 

COLINGE 

Even if my new part is half your comedy 111 
know each word of it. 

MOLIERE 

[Laughing.] 
Well, hardly half. Leave me a bit. I'm play- 
ing in it too. Tell La Forest that I'm ready. 
[And CoLiNGE exits.] 

La Forest 
[Entering.] 
You've kept me waiting long enough. 

MOLIERE 

[Half to himself.] 
Poor Colinge. 

La Forest 

What's the matter with him? 

MOLIERE 

Nightfall, La Forest, nightfall. 



Act I] MOLIERE 49 

La Forest 
Nightfall. Rubbish! Well, let's to work. 

MOLIERE 

Yes, I'm ready ; come sit down. 

[He takes up his manuscript.] 

La Forest 
What do you call your play? 

MOLIERE 

"The Misanthrope." 

La Forest 
What's that? 

MOLIERE 

A man who thinks he alone is right. 

La Forest 
He's lonely, isn't he? 

Moliere 

Yes, and bitter. 

La Forest 
How has he learnt this bitterness? 

Moliere 
Through love and through the hurt of love. 



50 MOLIERE [Act I 

La Forest 

It is good to be old and done with love. One 
can only be happy when that happiness is over. 

MOLIERE 

Love is the last dream we awake from. 

[And as he speaks he takes from the table 
the broken bits of Armande's fan.] 

La Forest 

[Watching him.] 
Go on with your play. 

MOLIERE 

It will be finished in a few weeks now that the 
fetes are over. 

La Forest 

Why don't you give up this acting for ever? 
You're rich, famous. 

MOLIERE 

[Smiling.] 
Were you a comedian, La Forest — 

La Forest 

[Interrupting him.] 
Monsieur, every morning I am on my knees 
thanking the good God that he has made me a, 
human being and not an actor. 



Act I] MOLIERE 51 

MOLIERE 

Were you a comedian you would know that an 
actor must go on. Were you an actor you would 
realize that nothing is so transitory as the fame of 
a player. Today the beautiful applause of Paris 
is in our ears, the King has approved our comedy, 
and then for months we have to pay the guards to 
keep the crowds away from the theatre. And then 
tomorrow — and that tomorrow sometimes comes too 
swiftly — tomorrow we are, perhaps, forgotten and 
at some country fair, unlicensed, and in vain we 
spill our souls to the yawns of the yokels. That is 
why an actor believes so terribly, so ridiculously in 
the moment; any moment, La Forest, may be his 
last. Why, every day when I see you light the 
candles before the play, then I know that I shall 
never give it up. Sometimes I even think that I 
shall die acting. 

[There is a pause. Then the sound of a 
coach stopping in the street.^ 

La Forest 

The devil take the King if he's come to interrupt 
us. ' 

Armande 

[Entering from the stage.] 
Some of the coaches are coming, Jean. His 
Majesty will follow in a moment now. 



52 MOLIERE [Act I 

MOLIERE 

Are all the actors ready. La Forest? Tell me 
when the King is here. 

\_He exits by the door leading to the stage.] 

La Forest 
[At the window.] 
The outriders are in yellow with ribbons of blue. 
Is it the King's coach, Madame? 

Armande 
Ribbons of blue. [And her voice is trembling.] 
La Forest, open the little door beyond the passage. 
[La Forest exits. A pause. And then 
there is the sound of voices and the next sec- 
ond DE Lauzun is in the room. He is young, 
debonair, extraordinarily handsome and in 
the grace and ease of his manner, a perfect 
courtier.] 

Armande 
How often must I beseech you not to come to the 
theatre? 

De Lauzun 
Bidding me stay away but draws me nearer. I 
have chosen this chance of the King's coming, just 
to see you, speak to you. 

Armande 

God ! You are torturing me. 



Act I] MOLIERE 53 

De Lauzun 
And you? What do you do to me? 

[He steps nearer to her, holding out his 
arms.] 

Armande 

Don't, don't. Do not come here. I am afraid. 
Go! Go! 

De Lauzun 
Shall I, Armande? As you bid me — 

[He has taken a step toward the door.] 

Armande 
No, — stay a moment. What shall I do? What 
shall I do? 

De Lauzun 

I have told you. At Court all will be different. 

My mother's influence — she is lady-in-waiting to 

the Queen. A word from me — you understand. I 

love you but whilst you are here I can do nothing. 

Armande 
[Bitterly.] 
. Whilst I am here. 

De Lauzun 

When? Where shall we meet? 

Armande 
I am for ever watched. 



54 MOLIERE [Act I 

De Lauzun 
Where? 

Armande 

I do not know. Sometimes I'm afraid. When 
he looks at me I know that I would rather die than 
hurt him and then come the long hours when my 
heart cries out for you. 

De Lauzun 

Armande ! 

[He has taken her into his arms.^ 

Armande 
God! God! 

De Lauzun 

Near the Palace at Fontainebleau is my father's 
hunting lodge. There's no living being about but 
the old man who keeps the dogs. It's so quiet there 
in the twilight, Armande, so very quiet. 

Armande 

I tell you I am for ever watched. I cannot get 
away from Paris. 

De Lauzun 

Then in the city here I'll meet you at the milli- 
ner's. 



Act I] MOLIERE 55 

Armande 
He goes with me. There is no detail of the cos- 
tumes too small for his attention. 

De Lauzun 
At the shops on tlie Bridge. 

Armande 
Perhaps. I do not know. When you are away 
I would be with you. Then my heart bids me slam 
the door of his theatre for ever and be gone. But 
then I look up — and his eyes are upon me. Oh, 
God, what has Fate done to me? 

[She sinks into a chair at the table.^ 

De Lauzun 

You do not love me, Armande? 

Armande 
Yes, I want to go with you, but something — 
something — 

De Lauzun 
We men are braver. 

Armande 

It isn't fear but something I do not understand. 

De Lauzun 

This afternoon, after the play, my coach will be 
waiting beyond the bridge. 



56 


MOLIERE 




Armande 


No, I cannot. 






De Lauzun 


You do not love 


me. 




Armande 



[Act I 



Beyond the bridge. Some day perhaps, but — 
no — no. [The sound of more coaches stopping in 
the street. She is at the window.] It's the King. 

La Forest 

[Rushing in.] 
Madame, the King, the King! 

Armande 
Yes. Go tell your Master. 

La Forest 

[At the door, calling into the stage.] 
Master. The King, the King! 

Armande 

[Low to DE Lauzun.] 
Pity me, pity me. 

[At this moment Moliere stands on the 
threshold, his eyes glancing from de Lauzun 
to Armande. He is about to speak, the blood 
mounting in his face. La Forest stands 



Act I] MOLIERE 57 

watching him. His hand, lifted to his heart, 
is trembling.] 

MOLIERE 

[Very low.] 
Armande. 

[There is a pause. Then suddenly the 
sound of voices in the passage way.] 

La Forest 
Master, the King. 

MOLIERE 

[Suddenly straightening up.] 
Yes, I am ready. 

[One or two courtiers enter. And then the 
voice of the chamberlain is heard calling.] 
The King! The King! 

[MoLiERE, Armande, the Courtiers and 
La Forest all bow facing the door and Louis 
OF France enters and on his arm is leaning 
Francoise de Montespan. The King is 
pompous, self-indulgent and inordinately con- 
ceited. He has learnt through dire necessity 
to cover his stupidity under royal irritability. 
Even in spite of this he has a certain personal 
charm, but though he has had two mistresses 
to his credit and several others not historically 
recorded, it is more to the fact that he is King 



58 MOLIERE [Act I 

than an irresistible gentleman that his favour 
with the ladies has been so regally extensive. 
Madame de Montespan, to quote Baron 
and the superlative Saint-Simon, is as beau- 
tiful as the day. She is imperious and at the 
same time fascinating, quick, humorous and 
witty. She is never for a moment off her 
guard, always alert with the sensitive alertness 
of an astute woman whose life has been a per- 
petual campaign for power and who has 
learned that most subtle of the lessons of femi- 
ninity: the ability to anticipate another's men- 
tal mood.^ 

Following the King are one or tivo more 
Courtiers, de Montespan's ladies and La 
Fontaine, the writer of the Fables. He is a 
quaint, eccentric man, a mixture of the direct 
and the aloof, a man whose speech is coloured 
by a peculiar attractive quality of absent- 
mindedness. 1^ 

Moliere 

[Approaching and kneeling to the King.] 
Sire, you're welcome. The actors are waiting to 
play the scenes that the Reverend Fathers of God 
find libelous. 

Louis 
So, how long do the scenes last? 



Act I] MOLIERE 59 

MOLIERE 

Only the length of your amusement, Sire. 

Louis 

Some day I shall issue a royal edict so limiting 
all plays. 

La Fontaine 
[Dryly.] 
That would close nearly every theatre in Paris, 
Your Majesty. 

Louis 
[Patly.] 
No, sir, all in France, but at the moment I except 
Moliere. He is an excellent fellow. 

MOLIERE 

Your Majesty, that is because I have not yet 
learned how easily you are bored. 

Louis 

Exactly. Why do the Abbes object to your com- 
edy? 

MOLIERE 

Perhaps because it tells the truth. 

Louis 
What's its theme. Sir? 



60 MOLIERE [Act I 

MOLIERE 

[His eye on Armande who stands at one 
side close to DE Lauzun.] 
It's called "Tartuffe," Your Majesty, and it's 
about a hypocrite. 

Louis 

The theme's a pregnant one. You play in it, 
Moliere? 

MOLIERE 

Today, Sire, only a small part. 

Louis 

It takes a big man to play the little parts. 
Where's your make-up? 

Moliere 
In my art. 

Louis 

Well answered. Can you teach me to speak so 
patly? 

Moliere 
In one lesson. Sire, provided only — 

Louis 

What? 

Moliere 

That you were Moliere, 



Act I] MOLIERE 61 

Louis 

[Enjoying the answer tho the poinfs against 
him.] 
La Fontaine, make a note of that. 

La Fontaine 

[Smiling slyly.] 
I've already done so, your Majesty. 

Louis 

And tell these things to the Queen; they may 
amuse her. She must be amused, otherwise having 
nothing to do she is apt to come to my apartments 
on the pretext of inquiring how I feel. I'm in ex- 
cellent health. Have a bulletin sent out each morn- 
ing, until Lent, saying I'm in excellent health. 

Mme. de Montespan 
God so preserve you. Sire. 

Louis 

Frangoise, thanks for your prayers. [Then to 
Armande.] Good morning, Madame. At Cham- 
bord you were a delight to the eye and a ravishment 
to the ear. You must come some time and play 
for the Queen, only play something that's religious. 
Moliere, you will write something sacred for Her 
Majesty. 



62 MOLIERE [Act I 

MOLIERE 

[Bowing.] 
In all things it will be my privilege to please you, 
Sire. 

Louis 

Good. Full of Saints, Moliere. A play quite 
stuffed with saints, lest Her Majesty misunderstand 
it. 

Mme. de Montespan j 

Too much holiness may crowd out art. 

Moliere 
And too much art, the holy. 

Louis 

That's good, Moliere. La Fontaine, make a note 
of that. 

La Fontaine 

Yes, Your Majesty. 

Louis 

[Magnificently.] 
Moliere, you have a way of saying exactly what 
I'm thinking. Some day I must act in one of your 
plays. I'm a very excellent actor. 

Moliere 

Not so good as I, Sire. 



Act I] 


MOLIERE 63 




Louis 


Why not? 






Moliere 


Sire, I can play 


the King of France, but can you 


play Moliere? 






Louis 



Write a scene for this lady and myself. [He 
points to DE MoNTESPAN.] Something pastoral 
and quieting. 

Mme. de Montespan i 

[With a suggestive delicacy.] 
What, Louis? Did you say quieting? 

La Fontaine 

[His voice half winking.] 
Why not, Madame? You're both most excellent 
actors. 

Louis 

Exactly. And follow it with an interlude of 
shepherds for the ballet. I'm an expert dancer 
too. And then another scene tender and peaceful 
for the lady and myself, under a sycamore. Some 
twenty pages, say. 

Mme. de Montespan 

[Laughing.] 
Not too long in the preamble, Moliere. [And 



64 MOLIERE [Act I 

then slower, more warmly than she knows. ^ Let 
us soon come to the loving. 

MOLIERE 

A love too swiftly given is a love too swiftly 
done. Sire, the actors await your coming. 

\^He stands aside to make way for the King 
to pass into the theatre. 
I hope you will approve of our scenes. 

Louis 
I do not know. A play is like a woman. One 
never knows if it is good or not until it is over. 

[And the King exits, followed by Moliere 
and others. At the door Mme. de Monte- 
span stops Armande.] 

Mme. de Montespan 
You are in the scenes, Madame? 

Armande 

No, Madame, not these. 

[She steps nearer to the door.] 

Mme. de Montespan 

A word with • you, Madame. Do not be dis- 
turbed. His Majesty will grant permission for the 
comedy. Moliere has already won his heart and 
I have spoken in his favour. You both have 
greatly pleased us. 



Act I] MOLIERE 65 

Armande 
[Bowing.] 
Madame. 

Mme. de Montespan 

Yes, at Chambord you were exquisite. 

Armande 
Madame. 

Mme. de Montespan 

I marvel at you. 

Armande 
It is an art which mellows with experience. 

Mme. de Montespan 

[Quietly. Hardly looking at Armande.] 
As for me I have never been able to seem what I 
am not, but I regret it. We are but tools in the 
hands of men, our masters, unless we have refuge 
in seeming what we are not. [A pause.] But, 
Madame, perhaps you have not suffered at the 
hands of love? 

Armande 

My life has been from the beginning very 
guarded. It is only when we are summoned to the 
fetes at Court that I see other gentlemen besides the 
members of my husband's troupe. And they are 
for the most part very dull. Actors are very stu- 
pid, Madame ; most of them without real feeling. 



66 MOLIERE [Act I 

Mme. de Montespan 

You players are for ever imagining the emotions 
of others. Is that why you have so few yourselves? 

Armande 
Perhaps, Madame. 

Mme. de Montespan 

I have been watching you much, Madame. 
[And Armande looks up at her.] It is not alone 
your art that interests me. 

Armande 
No, Madame? 

Mme. de Montespan 

Your manners, too, are so graceful, so distin- 
guished. For each part you play they are correct. 

Armande 

I have learned much from my husband, both as 
to manners and characterization. He has the fac- 
ulty of watching people and of understanding their 
souls. 

Mme. de Montespan 

Always, Madame? 

Armande 

Yes, always. 



Act I] MOLIERE 67 

Mme. de Montespan 
Surely it is easier for a dramatist to know men 
than women? As for me I think I never know a 
person until I have seen them weep. It is when we 
are sad that the soul is off its guard. 

[And suddenly she looks at Armande.] 

Armande 
Jean says it is when people laugh that they are 
most themselves. 

Mme. de Montespan 
Perhaps that is because he doesn't like to weep. 
Have you ever seen him weep, Madame? 

Armande 
No, Madame. 
[A pause.} 

Mme. de Montespan 
Your dresses too, Madame, are exquisite. 

Armande 
They are of my own design. I have them made 
thus that the lines of the body should not be hidden. 

Mme. de Montespan 
You are an artist then. 

Armande 
Thank you, Madame. 



m MOLIERE [Act I 

Mme. de Montespan 
But— 

{And she has taken a step nearer to her and 
stands looking into her eyes. Armande, feel- 
ing the scrutiny, tries to turn away.] 
But — even the charm of your acting has not been 
iible to hide what to the eye of a woman is as clear 
as this ring here on my finger. Men are such fools. 
They so often seek vain shadows in the midst of 
realities. It is a beautiful ring, is it not, my dear? 
Louis gave it to me the first time — ah, well. [ Then 
her voice takes on, almost a note of command.] 
Gome closer to me, child. 

Armande 
Madame, with your permission. 

Mme. de Montespan ^ 
[Siveetly.] 
Yes, Madame, with my permission. 

Armande 
I have a long part at rehearsal tomorrow. I 
have left the lines below in my dressing-room. 

Mme. de Montespan 

[The command is now tenderness.] 
Why do you turn away from me? I am Fran- 
Qoise de Montespan. Do you think I do not know 
the heart of a woman? 



Act I] MOLIERE 69 

Armande 
Madame, I — 

Mme. de Montespan - 
No. Do not acknowledge, do not deny. Your 
great sad eyes have answered me. [She has taken 
her hand.] Your husband is not kind to you? 

Armande 

[Confused, it is difficult to withstand the 
directness of her pity.] 
Too kind, too kind. 

Mme. de Montespan ^ 
[After a pause, her voice almost tremulous 
with sympathy.] 
These scorching shackles of gentleness are the 
most terrible tyranny of all. Come closer to me, 
Armande. You will permit me to call you Ar- 
mande? Perhaps you will care to tell me when 
you know that I pity you. 

Armande 
Tell you what, Madame? What? 
Mme. de Montespan 
What you are saying clearly though you do not 
speak a word. Do you not want to tell me? Do 
you not want to tell any one? Do not answer me 
if you do not wish to. Shall we speak of something 
else? 

[Her hand is on the girl's shoulder. J 



70 MOLIERE [Act I 

Armande 

[Suddenly.] 
Yes, yes, I want to shriek it out to all Paris^ — 
to all the world. 

Mme. de Montespan 

[Her arm about her.] 
Softly, softly, my dear. Would it not be wiser 
to whisper it to a woman? [And then very low.] 
You do not love your husband? 

Armande 
I — I — He has my respect, my admiration. 

Mme. de Montespan 

You are right. It is as I thought. I know, I 
know. One never loves what one respects. [There 
are tears in her voice.] My dear, my dear. 

Armande 

[And all that she had tried to suppress wells 
up.] 
In the midst of his love which stifles me, I am 
alone, alone! 

Mme. de Montespan 

[Stroking her hair.] 
You are a young, a beautiful woman; have you 
never thought a way out of this loneliness? 



Act I] MOLIERE 71 

Armande 
I see no one ; I know no one. 

Mme. de Montespan 

[Smiling.] 
Then the rumours of the attentions of the cour- 
tiers are but empty gossip. 

Armande 

Yes. 

Mme. de Montespan 

[Slowly watching the effect of her words,] 
Then your husband doesn't really know that you 
love de Lauzun? 

Armande 

[Springing back.] 
Why do you say that? 

[Her tone has told all.] 

Mme. de Montespan 
So, my dear. 

Armande 

I have not seen him since Chambord. 

Mme. de Montespan 

No, madame? But we're in Paris now. I, too, 
have loved, madame. I have watched you. You 
should guard your voice, — your voice grows hot 
when he comes near you. 



72 MOLIERE [Act I 

Armande 
No one knows. 

Mme. de Montespan 
No one need know, my child. 
[She is still smiling.] 

Armande 
Why do you look at me like that? 

Mme. de Montespan 
Your youth is too beautiful to be wasted, Ma- 
dame. I do not think that God desires that. Come 
closer to me; I pity you. [And again she holds out 
her arms to her.] Only the ecstasy of requited 
love is a fitting offering to lay on the altar of the 
great wonder of life. Have you known that ec- 
stasy? It is that which makes us very beautiful. 
It is that which makes us gods. Nature has not 
meant that that should be denied. Ah, madame, 
my heart bleeds for you. 

Armande 
[She is weeping noiv.] 
What am I to do? I am for ever watched, for 
ever imprisoned in this bitter love of his. 

Mme. de Montespan 
[For a second a strange look in her eye.] 
It is a great love, Madame; crowded into a mo,- 
ment it might set the. world, aflame.. 



Act I] MOLIERE 73 

Armande 
Too great, too great; what shall I do? When he 
is away I know I love de Lauzun. I love him; I 
love him. When he speaks to me it is my heart 
that listens. When he looks at me my soul goes 
out to meet him. This morning, Madame, — ah, 
what a fool I am, — I stood at the window watching 
the flight of the swallows, — because when they flew 
across the river I seemed to hear his laughter. And 
on the way back from Chambord I counted the mile 
posts, one by one — when we passed them my breath 
choked me; they seemed to be on fire. Each one 
brought me nearer to Paris and to him. I half 
hoped, half feared, he would find some excuse for 
coming to the theatre and now that he is come I am 
afraid. No man can understand this, Madame; 
what shall I do? What shall I do? 

Mme. de Montespan 
Under my apartment at the Palace there is a lit- 
tle garden. No one enters there save at my com- 
mand. Be there a little before twilight tliis eve- 
ning. I will tell de Lauzun. Shhh! They are 
coming back. No, — do not thank me. Say noth- 
ing. I am your friend. Go; do not stay to see 
de Lauzun. I have watched your husband watch- 
ing you. 

[And Armande exits and de Montespan is 
over at the table where she has thrown her 



74 MOLIERE [Act I 

gloves among some books, and stands with 
some pages of the manuscript of "The Misan- 
thrope" in her hand when the King, Moliere 
and the others enter. ^ 

Louis 
Frangoise, you are not coming to hear the play? 

Mme. de Montespan 
No, Louis; these pages have intrigued me more. 
I'll leave you to decide about the priests and hypo- 
crites. You know how Bossuet bores me. But 
this I find closer to my liking. 

Louis 
What is it, Moliere? 

Moliere 

My new comedy, "The Misanthrope." May it 
be an honour to you and to your reign. Your Maj- 
esty. 

Mme. de Montespan 

It will. It's deeply felt. Moliere, how have 
you imagined this? 

Moliere 
Madame, I am a dramatist. 

Mme. de Montespan 
But this is life. 



Act I] MOLIERE 75 

MOLIERE 

Your distinction breeds divorce. Must the two 
be separate? 

La Fontaine 

Not when Moliere, the master, weds them with 
his art. 

Louis 

La Fontaine, you're too elaborate. What's the 
theme of this comedy? Perhaps I'll play in it. 

Mme. de Montespan 

Jealousy, Your Majesty, jealousy that feeds upon 
its own heart even tho the food be bitter. 

Louis 
I'll hear a page. 

Moliere 

With pleasure, Sire, but what of the priests and 
my poor hypocrite in there? 

[He points towards the stage. ^ 

Louis 

Later we'll hear the rest of that. But now a page 
of this since it so moves this lady here. 

Moliere 

With your permission. Sire. 

[By this time the rest of the courtiers have 



76 ' MOLIERE [Act I 

entered from the stage and stand in the room. 
The King seats himself as Moliere takes the 
sheets from the table.^ 

Louis 

Choose at random, Moliere. A speech or two 
so that we may taste the flavour of it. 

Moliere 

[Reading.] 
"Everywhere I see nothing but base flattery, self- 
seeking, injustice and deceit. No, I can bear it all 
no longer and my intention is to break for ever widi 
all mankind." 

Louis 

Yes, it's apparent there's a woman in it. 

Mme. de Montespan 
You're cruel, Louis. 

Louis 
Go on, Moliere. 

Moliere 

Now Philinte speaks: "This philosophic mo- 
roseness is, I think, too fierce." 

La Fontaine 

[His tongue in his cheek.] 
Yes, I agree with him. 



Act I] MOLIERE 77 

Louis 
By your leave, La Fontaine, this is a comedy and 
not a commentary. 

[And at this moment the door opens and 
The King's Chamberlain enters.] 

The King's Chamberlain 
Sire. 

Louis 
Well, what is it? 

The King's Chamberlain 
Your pardon, Majesty, but word has just come 
from the Palace from your Minister Colbert that 
you have promised an audience to the ambassadors 
of Spain before noon today. 

Louis 
Does my Minister Colbert think that these Am- 
bassadors are more important than the comedies of 
Moliere? 

The King's Chamberlain 
Again, Your Majesty, pardon, but your Minister 
also desires me to tell Your Majesty that you've 
kept the Spanish Ambassadors waiting for more 
than a week. 

Louis 
[Annoyed.] 
What shall I do, Moliere? 



78 MOLIERE [Act I 

MOLIERE 

Sire, out of respect for Madame, your wife, who 
is a Spaniard, I think you should see them before 
the month is up. 

Louis 

I do not relish these Ambassadors. I would hear 
more of your comedies. There are too many am- 
bassadors, too many countries and too many kings. 
There should be only one king and he should blaze 
like the sun. 

MOLIERE 

The sun of France, Sire. 

Louis 

Yes, and in the meantime as to your "Tartuffe" 
I've heard enough. Let the priests yelp. You 
actors, too, are God's instruments. Let not one in- 
strument of God restrict the other. Come and play 
it at the Louvre. Your comedy will have the royal 
sanction. 

MOLIERE 

Thanks, Your Majesty. 

Mme. de Montespan 
Louis, you have decided well. 

Louis 

Frangoise, I always do. My favour is my 
praise. 



Act I] MOLIERE 79 

La Fontaine 

[Pointing to Moliere.] 
None has deserved it more than he. 

Mme. de Montespan 
He should be crowned with laurels. 

Moliere 
Madame, such matters do but scratch the brain. 

La Fontaine 
He is the chief glory of your reign, Sire. 

Louis 
What's that? [His pride has been tactlessly 
touched.] Is my reign to be remembered for Moli- 
ere or Moliere for my reign? 

Moliere 
I am but a ray of your refulgence. Sire. 

Louis 
See that no shadow ever dim the flame. And 
now we'll see these Ambassadors. Your comedies 
have put me in the proper mood. 
[He turns to go.] 

The King's Chamberlain 
The King ! Make way for His Majesty the King! 
[And then follows a scene of bustling cour- 



80 MOLIERE [Act I 

tesy attending the departure of the King. As 
DE Lauzun passes Madame de Montespan 
she stops him.^ 

Mme. de Montespan 
Tonight in my garden, at twilight. 

[The courtiers are leaving; there is much 
bowing and formality but in the end Moliere 
is left alone and sits down to write.] 

La Forest 
[Quietly entering.] 
Shall we go on now, Master? 

Moliere 
No, not now. Where's Armande? 

La Forest 
In her dressing-room, studying her lines. 

Moliere 
Tell the actors they are free until this afternoon's 
rehearsal. 

La Forest 

All has gone well. Master? 

Moliere 

Yes, yes. 

La Forest 
God be praised. And I'll let no one in. 



Act I] MOLIERE 81 

[She goes about quietly closing the doors 
and exits to the stage to tell the actors they are 
dismissed. Moliere sits in the sunlight, 
thinking, his quill lifted, waiting for the mo- 
ment of inspiration. He writes a word or two. 
A pause. He leans upon his arm. Then he 
is up pacing about the room, mumbling the 
speeches to himself. He has reached the door 
that leads to the stage and turns in amazement 
for standing in the passageway that leads from 
the street he sees de Montespan.] 

Moliere 
Madame! 

Mme. de Montespan 
A moment, Moliere; pardon but I've left my 
glove there on your table. 

[And he brings it over to her and hands it 
to her with a bow.] 

Mme. de Montespan 
A word, Moliere, before you bow too low. Do 
you not think that I am your friend? 

Moliere 
Madame, I hope so. 

Mme. de Montespan 
I will give you proof. Come to my apartments 
this evening if you would serve me. 



82 MOLIERE [Act I 

MOLIERE 

Madame, this evening — 

Mme. de Montespan 

Do not say no, Moliere, for once before I bade 
you come. 

Moliere 

[A little hesitantly for there is something in 
her manner which he mistrusts.] 
If I can serve you, Madame. 

Mme. de Montespan 

You can and that will greatly please me for 1 
thought, perhaps, your allegiance was only to the 
King. 

Moliere 

If I serve one who is dear to His Majesty, do I 
not also serve the King? 

Mme. de Montespan 
That is well answered. [Her tone is low, per- 
haps to hide a note of command.] You will come? 

Moliere 

Yes, madame, I will come. 

Mme. de Montespan 
A little after twilight, Moliere. [And now her 
words are even lower and in her voice there is the 



Act I] MOLIERE 83 

beginning of something half hope, half passion.^ 
Remember, a little after twilight. 

[And she is gone and he stands looking 

after her, an expression of misgiving in his 

eyes as the curtain falls.^ 



ACT II 



The Characters in Act II Are 

Madame de Montespan. 
La Fontaine. 

Giovanni Lulli, the Court Musician. 
Hercules, a black boy, Page to Madame de Monte- 
span. 
The King 

MOLIERE 

and two Ladies-in-Waiting to de Montespan, 

The scene is the Apartments of Madame de Mon- 
tespan. 

The time of the action of Act II is twilight of the 
same day as Act I. 



ACT II 

The apartment of Madame de Montespan, a room 
in the most exquisite style of the period of 
Louis XIV. In an alcove is a low bed, the 
frame of which is made of embossed silver. 
On the other side of the room is a tall window 
which looks below into the court or tiny pri- 
vate garden of the King's Mistress. Opposite 
the window is a small door in a panel in the 
wall. 

Madame de Montespan is at her mirror. One of 
her ladies is bending over arranging de Mon- 
tespan's hair. Another stands a little to one 
side, a bottle of perfume in her hand. On the 
toilet table are various trinkets, among them a 
tiny watch, and near by in a golden vase are 
some deep purple Iris flowers. At t>k Mon- 
tespan's feet on a cushion sits Hercules, her 
little blackamoor, with a tremendous jewelled 
turban on his head. On one side of the room 
is LuLLi seated at a harpsichord and on the 
other is La Fontaine, a book in hand. The 
two men are alternately reading and playing 
to the Mistress of the King as she makes her 
87 



88 MOLIERE [Act II 

toilet. La Fontaine is more absent-minded 
than usual and has stopped in the middle of 
a fable he is improvising and is unable to go 
on. 

Mme. de Montespan 

Well, what happens; how does the fable end? 

La Fontaine 

I have forgotten, Madame. [Attempting to re- 
call the story.] Dear me, what was it about? 
Well, never mind ; I will begin another. 

^ Mme. de Montespan 

If it is not too long perhaps you will remember 
this one. 

La Fontaine 

Let me see. Let me see. [He sits for a mo- 
ment in thought.] Yes, yes. [And he begins his 
story.] "The Dove and the Ant" — 

Mme. de Montespan 

Is it short? 

La Fontaine 

No longer than Hercules. [He bends over and 
taps the boy on the head.] Black Boy, do you want 
to hear my fable? 

Hercules 

Wait until I have eaten my chocolate. [And 



Act II] MOLIERE 89 

taking one from a gilded box in a cushion next to 
him he gulps it down.] Now begin. 

[La Fontaine sits thinking what the tale is 
about. A pause. Lulli strums a few bars 
on the harpsichord.] 
[To Lulli.] 
Be still or I will throw my candies at you. 

Mme. de Montespan 

[To Lulli.] 
We'll have the tale without accompaniment, Gio- 
vanni. [The Ladies laugh. Then to La Fon- 
taine.] Go on. 

La Fontaine 

My fable is about some very little animals. 

Hercules 
Smaller than the King's dog? 

La Fontaine 

Yes, for one of them is an ant, and the other is 
a dove. Now I will begin. [And they all sit lis- 
tening.] At the side of a brook a dove is drink- 
ing when, lo, an ant tumbles into the water. 

Hercules 
Does the ant get drowned? 



90 MOLIERE [Act II 

Mme. de Montespan 

Be still, Hercules; how would the tale go on if 
the hero is drowned at the very beginning? 

La Fontaine 

My lad, wait and listen. Be more patient. Hu- 
manity is less patient than the unthinking beasts. 
Where was I? [A pause.] Oh, yes. [And then 
he goes on with his fable.] Even now the ant is 
struggling to reach the shore but all in vain, for to 
him the tiny brook seems vaster than the sea. 

Hercules 
Go on. Go on. 

La Fontaine 

\With lifted finger.] 
But the dove is kind. 

Mme. de Montespan' 

Why not, for the dove is love's symbol and love 
is kind. [Then to one of the ladies.] Do the 
lackeys know to have Monsieur Moliere wait in the 
little room beyond the corridor? 

The First Lady 
Madame, we have so told them. 



Act II] MOLIERE 91 

La Fontaine 

[Continuing.] 
And so the dove with quick charity throws a leaf 
into the stream and the ant climbs on the leaf and 
thus is saved. 

Hercules 

[Looking up from his candies.] 
And is that all? 

Mme. de Montespan 

When you are older, my black boy, you will 
know that life saves us from one danger but to lead 
us to another. 

[Then to one of the ladies.] 
See if Moliere is not waiting in the ante-room. 
[The First Lady goes out.] 

Mme. de Montespan 

[Feeling Lulli's eyes upon her.] 
But we have forgotten your story, my fable tree. 

LULLI 

[Impatiently.] 
Madame, I have composed a minuet for you. 
Shall I play it? 

Mme. de Montespan 
No, not now. [Then to La Fontaine.] What 
of the dove? 



92 MOLIERE [Act II 

La Fontaine 
The dove's in danger. 

Hercules 
[Looking up.] 
Yes? 

La Fontaine 

For a peasant with bare feet passes and in his 
hand is a bow and when he sees the dove he lifts his 
bow to kill it. 

Hercules 

I don't want him to kill it. I don't want him to 
kill it. Doves are white. Mme. de Montespan 
says her throat is as white as a dove's. If he kills 
the dove I will tell the King. 

Mme. de Montespan 

Stop your chatter. [Then to La Fontaine.] 
Well, what happens? 

La Fontaine 

Just a minute, Madame; just a minute, there! 
I'm afraid I've quite forgotten. 

Hercules 
If you don't know I will ask Moliere. 

LULLI 

What? 



Act II] MOLIERE 93 

Hercules 

[Pointing to de Montespan.] 
Madame Frangoise says there is nothing that Mo- 
liere doesn't know. 

[He begins eating another chocolate.] 

La Fontaine 

[Who has been thinking of the end of his 
story.] 
Ah! Now I know the end. 

Mme. de Montespan 
Well, go on. 

La Fontaine 

Let me see — Come over to me, Hercules, and 
you shall hear the end of my fable. 
[The boy goes over to him.] 

La Fontaine 

[Taking his hand.] 
As the man is about to shoot the dove the ant 
stings him in the heel and as he turns his head the 
dove is gone, thus his supper flies away and there 
isn't a penny's worth of pigeon left. 

Mme. de Montespan 
[Clapping her hands.] 
Bravo! Bravo! You're improving, my fable 
tree. You have remembered all of it. 



94 MOLIERE [Act II 

La Fontaine 

I am well pleased myself, Madame, that I've 
remembered all. Alas, I forget everything. I 
haven't seen my wife for years. The only way we 
could stay together was by living apart. I do not 
even recall what she looks like. [Then with a 
sighS\ In life sometimes it is good to forget but 
not in fables. That is why I make my fables so 
short lest I forget how they started. Indeed, Ma- 
dame, some day I am afraid that on a gay dog I 
will tie a sad tale or make the weeping willows 
laugh. 

[The First Lady returns. 1 

The First Lady 
Madame, no one is waiting in the ante-room. 

Mme. de Montespan 
Not yet, not yet? 

La Fontaine 

Will you hear another fable? 

Hercules 

{Decidedly. '\ 

No, sir, for you take too long to tell them, nor 

are you so great a writer as the montebank, Moliere. 

So says my lady de Montespan. Will you take me 

some day, Madame, if there is room in your great 



Act II] MOLIERE 95 

coach for the King, besides yourself and me, to see 
this animal man's menagerie? 

La Fontaine 

You will have to be tinier than you are, my ebony 
boy. 

Hercules 

[Not to be thwarted. 1 
I will go ; I will go. Why must I be tinier? 

La Fontaine 

[Pointing to his head and with his voice 
smilingly poised in whimsy.^ 
To enter here for all these great and little beasts 
live in the minutest chambers of my brain. 

Hercules 

Madame, this fellow tires me. [Then pointing 
to LuLLi.] Have your Giovanni play his minuet. 

Mme. de Montespan 

[Touching her lips with a last bit of rouge.]^ 
Is there time for dancing before the twilight 
falls? 

LuLLI 

Madame, there is always time for my minuet. 
I am Lulli, musician to the King. 



96 MOLIERE [Act II 

Mme. de Montespan 

So? [Then less lightly to one of the ladies.] 
Go to my window and see if any one is waiting be- 
low in my garden. 

The Second Lady 

[At the window, looking out.] 
There is a woman waiting beneath the statue of 
Cupid. 

Mme. de Montespan 

[Smiling.] 
She will not be there alone for very long. Now 
if there is still a moment before Moliere comes we 
will have the music, my Giovanni. 

LULLI 

[Angrily.] 
Can you not keep this actor waiting? 

La Fontaine* 

Why so hot, Giovanni? Is there not room at 
court for all of us? 

LuLLI 

[His temper rising.] 
Not for Moliere. When self -opinion grows too 
big it may burst its ovm too pompous head. 



Act II] MOLIERE 97 

La Fontaine 

Then you had best have your own wig tightened, 
my Italian. 

LULLI 

This actor is an upstart, the son of a tradesman. 

La Fontaine 

Sometimes the lowest bushes bear the reddest 
roses. 

Mme. de Montespan 

[Looking up at him.^ 
Yes, that is so, my fable tree. 

LuLLI 

The son of an upholsterer. Bah! 

La Fontaine 

Remember your own beginning, my Giovanni. 
Is not a counter in a shop as soft a cradle as a 
scullery? 

LuLLI 

That's a lie. La Fontaine. 

La Fontaine 

[Dryly.] 
But we must all begin somewhere, I suppose, and 
of that, words avail us naught, ^ave you ever 
thought, Madame, that at birth we &ay nothing and 



98 MOLIERE [Act II 

at death it matters little what we say though in the 
interim we may have filled the world with all the 
idle gossip of our days? 

LULLI 

/ am something at Court. / am music master to 
the children of the King. 

La Fontaine 

And alas, Moliere is too often player to the pleas- 
ure of the King. He wastes his genius on these 
trifles for the court. 

LuLLi 

His genius goes too far, Madame. 

Mme. de Montespan 

\^For there is something in his voice which 
arrests Aer.] 
What? 

LuLLI 

He has insulted you. 

Mme. de Montespan 

[Swiftly.] 
What's that? 

LuLLI 

Do you not know that he has written a play in 
which he has had the temerity to satirize you, 



Act II] MOLIERE 99 

Madame, and your husband and even His Majesty, 
the King? 

La Fontaine 

That's a lie. 

LULLI 

Boileau heard the comedy. He was telling me 
at Chambord. In this play, this actor, with his 
tongue in his cheek, has made sport of you, Ma- 
dame. 

La Fontaine 

Madame, do not believe this. 

LuLLi 
. He even boasts that he will have it printed. 

La Fontaine 
That is not true. Moliere is too loyal to the 
King. 

LuLLi 
Is he? 

Mme. de Montespan 

More loyal to his King than you are to your 
friend, Giovanni. There is some mistake. The 
King must not hear of this. 

Hercules 
[Jumping up.^ 
I will tell him if you do not give me another 
box of sugar plums. 



100 MOLIERE [Act II 

La Fontaine 

So, my little courtier, you are learning early. 

LULLI 

[Significantly.] 
If the King hears of this, the curtain falls for 
ever on Moliere. 

Mme. de Montespan 
There is some mistake. 

LuLLI 

Even this Moliere can go too far. 

La Fontaine 
, Do not believe until you know. 

Mme. de Montespan 
I don't. 

[She has gone over to the window and is 
looking out.] 

La Fontaine 

[Straight at Lulli and the words hit him in 
the face.] 
Maybe the desire breeds the lie. 
[A pause.] 

LuLLi 

What of my minuet, Madame? 



Act II] MOLIERE 101 

Mme. de Montespan 
Yes, we have forgotten, — play. 

[LuLLi sits at the harpsichord and begins 
playing the first measures of his minuet.] 

Hercules 
[Going over to de Montespan.] 
I have been learning some new steps, Madame. 
[And then he bows to her until his turban sweeps 
the floor.] Will you do me the honour, Madame, 
will you dance with me? 

Mme. de Montespan 
[To La Fontaine.] 
Will you dance, too, my fable tree? 

La Fontaine 
No, if he doesn't play too loudly I will doze. 

Mme. de Montespan 

[To LULLI.] 

Begin again. 

[And she takes the hand of the child and 
they begin to dance a few measures. Then 
she breaks from him and rushes over to the 
window and as he plays Lulli watches her.] 

Mme. de Montespan 

[At the window.] 
At last, at last. I thought the lady would not be 



102 MOLIERE [Act II 

long alone. Play louder, Giovanni. [She is back 
in the room, her voice aglow.] Louder, louder. 
Come, Hercules, and we shall finish. [Then as 
they dance.] Where have you learned these pretty 
steps? 

Hercules 

[Pirouetting.] 
I peeped thru the door when the children of the 
King were at their lesson. Point the right toe 
thus as you turn round. 

[And he shows her.] 

Mme. de Montespan 
Some day with these tripping steps you may win 
a dusky lady's heart. 

Hercules 
Not with my toe's point but my sword's. 

Mme. de Montespan 
[With a peal of laughter.] You men are 
all so masterful. 

[They go on dancing a measure or two. 
Suddenly Lulli stops, for standing in the 
doorway of the alcove is the King. They all 
turn and bow to his Majesty.] 

Louis 

[Stepping into the room.] 
No, do not stop. I like to find France dancing. 



Act II] MOLIERE 103 

Mme. de Montespan 

[Gaily.] 
And will you join us? 

Louis 

Not now. Tomorrow, maybe. Or if not to- 
morrow, then in a day or two, if you are still danc- 
ing when I am back. 

Mme. de Montespan 

[Glancing towards the door.] 
You are leaving Paris, Louis? 

Louis 
Frangoise, I thought I told you that this morning. 

Mme. de Montespan 
God forgive me, Louis, but I had quite forgotten. 

Louis 

Madame, it were best to remember the comings 
and the goings of a King. I leave for Fontaine- 
bleau in some few minutes now. I have come to 
say farewell. 

Mme. de Montespan 

[To the others.] 
Pray leave us. 

[They are all bowing to the King.] 



104 MOLIERE [Act II 

Louis 
[To La Fontaine.] 
La Fontaine, will you join the hunt? 

La Fontaine 

Sire, with your permission I would not slay with 
my hand the animals that my art makes live. 
[He is bowing to the King.] 

Mme. de Montespan 
[Swiftly to her ladies.] 
Wait in the passage till I call you. 

[LuLLi is watching them. The Ladies 
exit.] 

Louis 

[To LULLI.] 
And you, LuUi, do you wish to go along? The 
hunting's good at Fontainebleau. 

LuLLI 

[Glancing at Mme. de Montespan.] 
In Paris, too, Your Majesty. 

Louis 

[For he has caught some hidden meaning in 
the tone.] 

What's that? 



Act II] MOLIERE 105 

LULLI 

Sire, we are all huntsmen, following the brush 
of your desire. Some gallop slow as I, some fast 
as this Moliere of yours, but at the day's end of 
the chase we are all waiting for the prize of your 
fair favour. Alas, I cannot join you, Sire, for this 
evening I have promised Her Majesty a little con- 
cert of some sacred tunes. 

Louis 
Some day I fear Her Majesty, quite unawares, 
will drift straight up to God, on the wings of all 
this hymning. Too much incense chokes me. 
I've just seen the Queen. I always do on Wednes- 
day. But she smelt so much of saints and paradise 
that for these last few minutes, Frangoise, I'll 
spend the time with you. 

Mme. de Montespan 

[Bowing.] 
Louis, not only these few moments, but all my 
life is yours. Lulli, La Fontaine — 
[She bows to them.] 

La Fontaine 

[At the door.] 
Was my fable finished? 

Louis 
If not, you may go on tomorrow. 



106 MOLIERE [Act II 

La Fontaine 
Sire, with the greatest of pleasure. 
[And he exits.^ 

LULLI 

[Insinuatingly. ] 
Some day, Madame, you will hear my minuet? 

Louis 
[Now a little irritated.] 
Yes, hut for the moment let us let music wait its 
own necessity. 

[LuLLi, bowing, exits. 1 

Mme. de Montespan 
[To Hercules.] 
Well, Hercules, my little Argus, go now. [And 
then pointing it beyond mistake.] And see that 
the lackeys let no one enter. 

[The boy exits and she turns to face the 
King.] 

Louis 
Frangoise, it grieves me to leave you for today. 

Mme. de Montespan 
Louis, it saddens me to see you go. When you 
are gone, I sit in darkness waiting for the dawn. 

Louis 
Would God had given my wife your honeyed 
tongue. 



Act II] MOLIERE 107 

Mme. de Montespan 
What's that? 

Louis 

So that when I am with her, she would remind 
me more of you. With her each half an hour 
drags the dull day's length, with you each hour 
seems but a happy moment. 

Mme. de Montespan 

That is because we know the wisdom, you and 
I, of crowding all into the moment. All of our 
love, all of our life. France, you will never know 
how much I love you. 

Louis 
[Lyrically. "l 
Frangoise, I never want to know. Love is the 
endless finding of more love. [Then more 
prosily.^ Do you know I think if I had time, I 
might have been a poet, but if one would be a King 
[with a sighj^ one must give up all else. 

Mme. de Montespan 

You are a poet, Louis. Your deeds are epics. 
Your whims are history and you, sire, [she thinks 
for a moment just how to put it] well, — you are 
the State. 



108 MOLIERE [Act ll 

Louis 

[Thoughtfully.^ 
I the State? Frangoise, that's a phrase that's 
worth remembering, I am the State. The State 
is I. 

[He is enjoying the sound of it.^ 

Mme. de Montespan 

[Nodding her agreement.^ 
Yes, Louis, it's better that way. The State is L 

Louis 

[Repeating.^ 
The State is L Thanks for the wording, Fran- 
goise. 

Mme. de Montespan 

Why, nonsense, Louis, what is the wording, when 
the thought was yours? 

Louis 

Well then we'll share the thought, tho I'll retain 
the glory. 

Mme. de Montespan 

[Again glancing at the door.] 
When are you leaving, sire? 

Louis 
Soon, Frangoise. 



Act II] MOLIERE 109 

Mme. de Montespan 

[More eagerly than she knows. ^ 
Soon? 

Louis 

Yes, Madame. But, by your question, would 
you make it sooner? 

Mme. de Montespan 

[Swiftly.] 
I wish you did not have to go at all. 

Louis 

There's too much harping on my going. Fran- 
goise, what's in your mind? 

Mme. de Montespan 

[Covering the slip.] 
Something that I hope will please you. 

Louis 
What, then? 

Mme. de Montespan 

[Beaming with bright candor.] 
Shall I go with you, Louis? 

Louis 

I think the question hints that you would rather 
not. 



110 MOLIERE [Act II 

Mme. de Montespan 
If you don't wish it then, of course — 

Louis 
And you? 

Mme. de Montespan 

Sire, if you wish me, I will go, but shall I speak 
frankly? 

Louis 

Why not? One must speak frankly to one's 
King and to one's God. 

[And in the sequence God goes by the 
board.] 

Mme. de Montespan 

Louis, you know I am only happy when I'm with 
you, but today — well — I am a little tired; and to- 
morrow, I had planned a day's rest in some still 
retreat. The Court's High Season has spent my 
strength, Your Majesty. [She is smiling sugges- 
tively.] I think I am a little pale. [She turns to 
her mirror.] 

Louis 

A trace, perhaps, but not less beautiful. [He 
steps nearer to her.] Ah, I shall miss you. Let 
me carry with me the sweet odour of your hair. 
[He takes her in his arms.] 



Act II] MOLIERE 111 

Mme. de Montespan 

[Looking over his shoulder at the door.^ 
Louis, Louis. 

Louis 

[Insinuatingly.] 
By tomorrow evening, you will come to me? 

Mme. de Montespan 

[In his arms.] 
Sire, if I am better, by tomorrow noon. Why 
do you go at all? 

Louis 

Because tho I am a King I am still a slave. 
Some months ago this hunt was planned for these 
Ambassadors. It's the last courtesy. It is not fit- 
ting that a last courtesy should be omitted, lest all 
the others be forgotten. 

Mme. de Montespan 

But, for a day, then. Sire. 
[She bows to him.] 

Louis 
[With an echo of displeasure.] 
Frangoise, I have not yet bowed to you. Would 
you thus hint to hasten my departure? 



112 MOLIERE [Act II 

Mme. de Montespan 
[Laughing a little nervously.] 
How you misread me ! Give me time, Sire, and 
I'll go dress and go with you, tho I never was 
more spent. [She has seated herself and leans 
back tiredlyJ] There, I'm better. Shall I go with 
you? [Then swiftly.] No? Then next week, 
let us go alone, — ^you and I, — and steal a holiday 
in some hidden hut, deep in the woods, at Ver- 
sailles? Imagine we two quite alone. [She is 
smiling languidly.] Louis, Louis, quite alone. 
[She holds out her arms to him.] 

Louis 

Frangoise, in the gallop of the horses I shall feel 
the beat of your heart. Would that tomorrow 
were today. 

Mme. de Montespan 

Only for these few hours, Sire. There, see how 
your love brings my strength back to me. 

[She has risen and again bowed and subtly 
the suggestion reaches him.] 

Louis 
You're right. It's time to go. 

Mme. de Montespan 
Not yet, — but if you must go, good night and 



Act II] MOLIERE 113 

think of me. [He is at the door. She calls him 
back.] My King! My King! 

[For a moment they embrace, then he is 
gone. She stands for a little while listening 
and then suddenly rushes over to the door that 
leads into the corridor.] 

Mme. de Montespan 

[Calling down the passage.] 
Madame! 

[The Second Lady enters.] 

Mme. de Montespan 

[Anxiously.] 
Well? Well? 

The Second Lady 

Madame, Lulli is outside and craves a word with 
you. 

Mme. de Montespan 

[On the tip of temper.] 
What's that? Lulli? Bid him come back to- 
morrow. 

The Second Lady 

Madame, your pardon, but he says the matter 
presses. 

Mme. de Montespan 

We'll have him in then. And see that no one 



114 MOLIERE [Act II 

goes near my garden. Lovers need but the night 
and the first sweet rising of the moon. 

[The Second Lady exits. Madame de 
MoNTESPAN turns from the door as Lulli 
enters.] 

Mme. de Montespan 

[Hurriedly.] 
Well, what do you want of me? 

Lulli 

There is still time before Moliere arrives. I 
warn you. 

Mme. de Montespan 
What's that, Giovanni? 

Lulli 

I speak for your sake, not for mine. Madame, 
you are playing with fire. 

Mme. de Montespan 

Keep your hand out of the flame then lest your 
thumb be burnt. Moliere is coming to do a serv- 
ice for the King. 

Lulli 

Madame, it would not be well if he stop on the 
way. I am your friend. 



Act II] MOLIERE 115 

Mme. de Montespan 

When it proves most friendly to yourself you're 
always friend. I do not think you swallow well 
this favour of Moliere's. Is the taste too bitter, 
LuUi? 

LULLI 

Madame, I would die but to touch the hem of 
your gown. 

Mme. de Montespan 

You dare! 

[The First Lady enters.] 

Mme. de Montespan 

[Eagerly.] 

Well? 

The First Lady 

Madame, Moliere is waiting in the little room 
beyond the corridor. 

Mme. de Montespan 

[And her voice is uncontrolled.] 
At last! At last! Show him in. 
[The First Lady exits.] 



LULLI 



[ Threateningly. ] 
You will not listen. 



116 MOLIERE [Act II 

Mme. de Montespan 

[Gaily.] 
What's that, Giovanni? 

LULLI 

[Slowly and with insinuation.] 
Madame, I warn you I am Giovanni LuUi. 

Mme. de Montespan 

Lulli, I do not warn you but I am de Montespan. 
Now go! 

[Lulli exits and she is over at her toilet 
table touching her lips with a last drop of 
perfume and turns to face Moliere.] 

Mme. de Montespan 

Ah, Moliere, good evening. Pray sit down. 
No? As you will. Moliere, I think you do not 
like me. Am I wrong? 

Moliere 

We are all servants of the King, Madame, and 
you are dear to him. 

Mme. de Montespan 

By indirection you are more direct. I know 
you do not like me. But what matter, — and yet it 
does matter. All my life I have wanted people to 
care for me. At the convent when I was a little 
girl one of the nuns did not love me once and be- 



Act II] MOLIERE 117 

cause she did not love me I set fire to her veil with 
a candle from the altar, — from the high altar where 
they were about to say mass, Moliere. I do not 
know whether God has ever forgiven me that. 

Moliere 
Let us hope so. There are so many masses, 
Madame, and perhaps God didn't miss the veil. 
What happened to you? 

Mme. de Montespan 
For three days I prayed, weeping at the shrine 
of Our Lady, and my body was fed on too little 
because I had loved too much. But that is long 
ago and the past is over. But memories still come 
crowding. Is it not so, Moliere? 

Moliere 
Madame, your pardon, I am a comedian and to 
a comedian the present ever presses. A comedian's 
faith is in the moment's laughter rather than in the 
fading pageants of the past. You asked me to 
come to you, Madame? 

Mme. de Montespan 
You are too swift. I think less speed would 
breed more chivalry. 

Moliere 

I am a very blunt man, Madame. It is perhaps 
because as I end my lines with a needed rhyme I 



118 MOLIERE [Act II 

strive to edge my acts with their needed necessity. 
You asked me to come to you — 

Mme. de Montespan 

Of course, of course. Otherwise I think you 
would not come. You do not know why I sent for 
you? 

[There is a moment's pause in which she 
looks at him.] 

MOLIERE 

No, Madame ; your whims are famous. PerhajDS 
you'd have me scale the Tower of St. Jacques. 

Mme. de Montespan 

[And her eyes smile.] 
To read the hard hearts of the gargoyles. 

Moliere 

Perhaps? Sometimes a stone's heart is softer 
than a woman's will. 

Mme. de Montespan 

[Laughing.] 
No, it isn't that. 

Moliere 

[Answering the gaiety of her mood.] 
Or perhaps you'd have me drink up the Seine. 
God forbid; it's muddy, Madame, near the city. 



Act II] MOLIERE . 119 

Mme. de Montespan 

I think you are more thirsty for my reason than 
the river. 

MOLIERE 

[With an echo of impatience.] 
I am. 

Mme. de Montespan 

I bade you come to me to please die King, Mo- 
liere. 

Moliere 

I am his servant. What do you wish of me? 

Mme. de Montespan 

Whatever I wish of you your genius will accom- 
plish. 

Moliere 
Thanks for your faith, Madame. 

Mme. de Montespan 

Next Tuesday is Louis' birthday. I have sent 
for you to ask your aid in the preparations for the 
festivities. Will you write a little comedy for the 
occasion? 

Moliere 

It is a deep honour, Madame, but at the mo- 
ment — ' 



120 MOLIERE [Act II 

Mme. de Montespan 

Can a moment alter your loyalty to France? 
We will do the play at Chambord in the woods. 
We will deck the autumn with flowers. Cartloads 
will be sent up from the South, cartloads of roses. 

MOLIERE 

More serious matters — 

Mme. de Montespan 

I will honour the pageant and your play — your 
play, Moliere. [She is looking at him curiously.]^ 
Write for me the part of the nymph Iris. I will 
play it in a gilded veil over a robe of gold. That 
will be charming. Will it not? Perhaps the King 
himself will dance. Write me some lovely lines 
as Iris so that I, de Montespan, will do justice to 
Moliere. 

Moliere 

The compliment is indeed a great one but at the 
moment, alas, I am so deep in work on my newest 
play, Madame. It is going well. You will un- 
derstand. I do not wish to check the mood. I 
give my life to the characters I am creating. I 
am part of my comedy. The play will be, perhaps 
the greatest of my career. May I hope it will be 
an honour to France and to the King? Madame, 
because of my comedy I must refuse you. 



Act II] MOLIERE 121 

Mme. de Montespan 

Is it the manuscript I saw this morning in which 
the laughter hides the tears? 

MOLIERE 

Yes, Madame, my comedy in which a lover does 
battle with his doubts. 

Mme. de Montespan 

[And again she looks at him.^ 
I know. I know. Love lies ever poised be- 
twixt despair and ecstasy. [A moment's pause.] 
And your wife? She is so exquisite. She is well, 
I hope. 

MOLIERE 

Well, Madame, but weary from the plays at 
court. 

Mme. DE Montespan 

I'm sorry you cannot do this ballet, Moliere. 
It would greatly please the King. 

Moliere 

[Slowly for there is something in her tone 
which he instinctively mistrusts.] 
I have too often stolen from my mind's treasury 
to coin these baubles for the pleasure of His Maj- 
esty. An artist, Madame, owes deep debts to what 
is deepest in him. We are but instruments and the 



122 MOLIERE [Act II 

breath of creation uses us at its will. We must be 
ever ready for its profoundest use. The King will 
understand. Have I not often pleased His Maj- 
esty? 

Mme. de Montespan 

Often. But have you ever sought to please me, 
me, Frangoise de Montespan? I am but a woman, 
Moliere; is chivalry then dead at Court? 

MOLIERE 

[With a how.^ 
Chivalry is always waiting for the bidding of a 
woman's smile. 

Mme. de Montespan 
[With a tinge of sarcasm.] 
You talk like a courtier. 

Moliere 

[Suddenly direct.] 
If I do so, Madame, it is because I wonder if you 
would tolerate me if I answered as a man. 

Mme. de Montespan 

Try me, Moliere. Less elegance may drive 
nearer to the truth. 

Moliere 

[Changing his tone.] 
Madame, I am an actor. 



Act II] MOLIERE 123 

Mme. de Montespan 
[Laughingly.^ 
So I've heard, Moliere. 

MOLIERE 

Perhaps also something of a judge of others' act- 
ing. 

Mme. de Montespan 

[Avoiding the imputation.] 
Yes, you have trained your wife most excel- 
lently. 

Moliere 

[For there is something in her tone that ar- 
rests him.] 
What do you mean? 

Mme. de Montespan 
Just that. What did you think I meant? 

[A pause. They are looking at each other.] 

Mme. de Montespan 
Why do you hesitate? Go on. Does the great 
Moliere then lack the word? 

Moliere 
Not the word, Madame, but the courage. 

Mme. de Montespan 
Then take me for your example, my comedian, 
I have never lacked in courage. 



124 MOLIERE [Act II 

MOLIERE 

That I can believe, Madame. 

Mme. de Montespan 
[Smiling.^ 
Profit by me then. 

MOLIERE 

I do. I do. But still I lack the bravery to say 
what lies nearest to my mind. 

Mme. de Montespan 
Ah, there's where we differ, we women and you 
men. You have the strength to hesitate, we women 
but the weakness to say all. 

MOLIERE 

It's a brave frailty, Madame, when discretion 
guides it. A woman's weakness is often stronger 
than our strength. Shall I speak plainly? 

Mme. de Montespan 
Of course; what is it? 

MOLIERE 

Madame, I think this play that you would have 
me write is but a pretext for some other matter. 

Mme. de Montespan 
Be careful. [Then controlling herself ."l What 
do you mean, Moliere? 



Act II] MOLIERE 125 

MOLIERE 

You said that you would have me say it all. 

Mme. de Montespan 
What is the all then? 

Moliere 

I do not know, and that's what troubles me. I do 
not like uncertainties. Round about has ever been 
for me too round about. I think there is a lie lurk- 
ing between our minds, Madame. 

Mme. de Montespan 

You dare — ^no, no, go on. I like you best when 
you are crudest. 

Moliere 

[Getting «/>.] 
Shall I leave you, Madame? 

Mme. de Montespan 

No, stay; I'm hungry for untinselled honesty. 
What is this lie you think that lurks between us? 

Moliere 

I do not know, but it makes our faces dim and 
what is uglier, our hearts ignoble. Shall we erase 
this clouding smudge with truth? The play's a 
pretext, is it not? 



126 MOLIERE [Act II 

Mme. de Montespan 

[Slowly.] 
Perhaps, Moliere. 

MOLIERE 

Madame, I thought so. 

Mme. de Montespan 
And if it is, what do you think it hides? 

Moliere 

I do not know. The Court's too crowded with 
intrigue. Is there some one you would have me 
slay with verses? — or [and he speaks the rest very 
slowly and very low] or maybe kill with poison? 
Have you chosen me because I would be least sus- 
pected? Is it thus you would test my allegiance? 
Has Mme. La Valliere returned to Paris? Or is the 
Queen's new court lady perhaps too beautiful? 

Mme. de Montespan 
Moliere, you dare — 

Moliere 

I am a dramatist, Madame. You must forgive 
me if at times I think too vividly. If my mind's 
too swift retard me but I think a man's must travel 
quickly to outmatch a woman's. 



Act II] MOLIERE 127 

Mme. de Montespan 
[And her voice is strange.] 
A word may be more wounding than a rapier. 

MOLIERE 

[Parrying.] 
A wish may be more likely than its deed, [He 
is at the door.] May I go? 

Mme. de Montespan 
[Springing up.] 
No, stay a moment, Moliere. 

Moliere 
It is a waste of words, Madame, to hint to me 
that at Court death silences an imagination that is 
over eager. I know the neighbourhood of kings 
is dangerous. But you called me in. If in my 
haste I have overstepped I am ready to pay, if 
needs be, vith my life. Death's but a little door 
opening on great spaces. We do not know, Ma- 
dame, but fate whispers they are free. Shall I 
tell the King myself that I have wounded you? 

Mme. de Montespan 
[Slowly.] 
There is no fear of death, Moliere. 

Moliere 
Have I misjudged you then? It is not death? 



128 MOLIERE [Act II 

Mme. de Montespan 

Not death but something that's more terrible; 
come closer to me. 

MOLIERE 

What is it, Madame? 

Mme. de Montespan 

Come closer. Something more terrible than 
death, more exquisite than life, — desire! Now do 
you understand? [And her voice is trembling.] 
I love you, I, Frangoise de Montespan, Mistress of 
the King of France; I love you. [Her voice 
breaks.] I love you, — the player of the King. 
Have pity on me. 

MOLIERE 

This is a trick or some sudden madness. Is 
Lulli waiting with a sword beyond the corridor? 
I have not wronged you. Why do you wish to 
break me? 

Mme. de Montespan 

You have wronged me with your pride, Moliere. 
I have shown you favour and you have repaid me 
with respect. I have been thirsty and you have 
given me wit to drink. I have looked at you with 
longing and you have turned away to listen to the 
low laughter of the crowd. 



Act II] MOLIERE 129 

MOLIERE 

Madame, I didn't know. 

Mme. de Montespan 

Now I have told you. Now you know. Is it 
too late, too soon? 

MOLIERE 

Neither too late nor too soon but too rash. I am 
the servant of the King, Madame, and even were I 
not you are the Mistress of my friend. 

Mme. de Montespan 
What am I to hope for? 

Moliere 

Reason, Madame; this is but a mad caprice. I 
think later you would hate me were I to forget I 
were more a lover and less a man. 

Mme. de Montespan 
Then you do not think me beautiful? 

Moliere 

I do, Madame, too beautiful to be without your 
ladies. Where are they? 



130 MOLIERE [Act II 

Mme. de Montespan 

I have sent them all away. [She takes a step 
nearer to him and suddenly tears open her dress 
at her bosom.^ See how my heart lifts in my throat 
to go out to you. 

MOLIERE 

Madame, we are but human. Let us be afraid 
of what the gods are doing. Look, the wind from 
your garden is blowing out the candles. Let not 
the wind of your passion blow out the light in our 
souls. 

Mme. de Montespan 

[Swiftly,] 
Let it blow. I am less guarded than you, Mo- 
liere. I think this moment matters more than that 
to come. I have ever been mistress of the moment. 

Moliere 

It is because of that that you are mistress of the 
King. 

Mme. de Montespan 
Ever since my childhood. 

Moliere 

I thought fate broke the human heart when it was 
too imperious. 



Act II] MOLIERE 131 

Mme. de Montespan 

Before mine breaks it will answer to my will. 
It has been my servant all these years. When I 
was a little girl I had a garden and I used to think 
which flower I would most be like. Not of the 
simpler sort that hid their quiet beauty in the shad- 
ows, — no, I took the regal, purple iris for my sym- 
bol. [And she takes one from the golden vase.] 
I was but eight years old, Moliere, but even then I 
knew that I would be like the iris. There was 
something so beautiful, so strangely rich in its 
deep lavender lifting its head above the humbler 
flowers. 

Moliere 

I understand, Madame; they say La Valliere 
wore pale violets in her bosom. 

Mme. de Montespan 
[Anger mounting in her eyes.] 
Are you more loyal to dead violets then? 

[And she has flung the iris flower to the 
floor.] ' ■ 

Moliere 
I'm sorry for the lady. They say she loved the 
King. 

Mme. de Montespan 
Why waste your sorrow? She has found eternal 
love in God. I envy her. 



132 MOLIERE [Act II 

MOLIERE 

And you, Madame? 

Mme. de Montespan 

I ^m not ready yet for those eternities. Come 
closer to me. What, why do you draw back? 

MOLIERE 

Can't you see that some one stands between us? 

Mme. de Montespan 

Who, the King? What? Do you not know that 
each new lady at the Court is his whim's possibility? 
Why shouldn't I seek refuge when he leaves me 
lonely and when my heart calls? Do you not hear 
it, Moliere? It is speaking to you so madly, so 
terribly that I've forgot the King. Can you not 
forget His Majesty for this one sovereign moment? 

Moliere 
It is not the King. 

Mme. de Montespan 
Who then? Who then? 

Moliere 

Madame, my wife. It is her shadow that lies 
between us. 



yVcT II] MOLIERE 13:i 

Mme. de Montespan 
Shadows are but fragile things, Moliere. 

MOLIERE 

This has the substance of our love, a love so 
deeply rooted in our being, Madame, that no sud- 
den, poignant moment can shatter it. We are safe 
in our love, Madame. It is this love that keeps us 
loyal; it is the beat of our hearts, the sight of our 
eyes, the reason of our life. 

Mme. de Montespan 

[Her eyes closed, her hand upon her 
bosom.] 
For such a love — for such a love — Moliere, 
do you not pity me? 

Moliere 

I do, and now good evening. See the twilight 
has fallen and the room grows dark. Shall I not 
have some one light more candles? 

[His hand reaches for the door.] 

Mme. de Montespan 
Moliere ! Moliere ! 

MOLIEIIE 

Madame? 



134 MOLIERE [Act II 

Mme. de Montespan 

You're right. I've been over rash. This inci- 
dent — if the King should hear. 

MOLIERE 

Madame, I do beseech you, you are safe and 
now good evening. 

Mme. de Montespan 

No, stay a moment. There is something I would 
do, for I think there is something that you should 
know. 

MOLIERE 

That will be true until the end of time. Knowl- 
edge is always just beyond us and therein lies the 
comedy of humanity. 

Mme. de Montespan 
Is it not braver to know all, Moliere? 

Moliere 

Braver, but less likely — else man were God. 
That makes the comedy humane. We are less than 
gods, Madame. 

Mme. de Montespan 

[Significantly.} 
Is it not God-like to know all and to survive? 



Act II] MOLIERE 135 

MOLIERE 

Madame, I hope you will. See, the mood is 
over. 

Mme. de Montespan 
No, you misjudge me ; I forget myself. 

MOLIERE 

That is the great illusion. Whoever does? 

Mme. de Montespan 

[As he turns away.] 
Now it is my turn to pity you. 

Moliere 

[Turning back.] 
Then we are on safer ground for pity is control- 
lable. [Then a little bitterly.] Thanks, but I'd 
rather have you laugh at me than pity me. 

Mme. de Montespan 

One love is dangerous, Moliere. It is not wise 
to worship at one shrine. 

Moliere 
[At a loss.] 
Madame — 

Mme. de Montespan 
There are saints who sin. 



136 . MOLIERE [Act II 

MOLIERE 

In that truth lies man's brotherhood. What's at 
the end of your preamble? 

Mme. de Montespan 

My hesitancy. 

Moliere 

Go on; I thought you never lacked in courage. 

Mme. de Montespan 

I do when it's the courage to wound another. 
See, now the last candle has gone out and we are 
indeed in shadow. 

Moliere 
Is it too dark? 

Mme. de Montespan 

But that is easily altered. By now the moon is 
up. 

[And she rushes over to the window over 
her little garden and pulls back the curtain 
and as she does so the room is flooded with 
moonlight.^ 

Mme. de Montespan 
Now we shall see. 

Moliere 
By moonlight all is beautiful. The moon's the 



Act 11] MOLIERE 137 

living lamp lighting with fantastic beauty the thea- 
tre of the world. Some day I must play a comedy 
by moonshine. 

Mme. de Montespan 

It would become your wife for it's the light of 
love. 

MOLIERE 

[Quickly.] 
What do you mean? 

Mme. de Montespan 

Only what your heart tells you and you won't 
believe. Are you sure your wife is faithful? 

MOLIERE 

[Swiftly for the thrust has gone home.] 
As sure as that you're not, Madame. 

Mme. de Montespan 

[Bridling.] 
Go on; I think I like you best when you are an- 
gry. How do you know that she is innocent? 

Moliere 
I know because she loves me. 

Mme. de Montespan 
Then you have not heard what they say at Court? 



138 MOLIERE [Act II 

MOLIERE 

Madame, would it be well for you to listen to all 
they say at Court? 

Mme. de Montespan 
These bitter tongues are part of the price I pay 
for my power to punish. But your wife is not 
Mistress of the King. 

Moliere 
No, God be praised ; she is but my wife. 

Mme. de Montespan 
And you don't doubt her? 

Moliere 
Why should I when there is no reason? 

Mme. de Montespan 
And seeing you have not wished to see? 

Moliere 
I have looked with a man's eyes, not a woman's. 
[And she lifts her eyes to him and her lips 
are curled.] 

Moliere 
Armande is hungry for adulation, that is all. 

Mme. de Montespan 
They say she is very free. 



Act II] MOLIERE 139 

MOLIERE 

I have given her freedom but she has never 
abused it. Of that there is no doubt lurking in my 
mind, 

Mme. de Montespan 

And these rumours? 

MOLIERE 

At court a woman's beauty is ever sweet food 
for too many hungry, dirty tongues. This gossip 
is all noisy emptiness. I know; I know. I have 
loved her too deeply to have listened. No, she is 
innocent. There is something almost terrible in 
my love for her. When I love her thus is she not 
safe? I have surrounded her with my adoration. 

Mme. de Montespan 

[Slowly. ]^ 
And what of de Lauzun? 

Moliere 

[His voice hot with rage.^ 
That is a lie, Madame, a lie. 

Mme. de Montespan 

Perhaps you're right. Who knows? Who 
knows? But you're heated, Moliere. The eve- 
ning air is cool that blows up from my garden. 



140 MOLIERE [Act II 

Let's forget these whisperings and your wife. 
[Then assuming a lighter tone.] Come here and 
I will show you a view of Eden. 

[She has gone over to the window.] 

MOLIERE 

[At a loss to solve the shifting of her mood.] 
What, Eden here in Paris? 

Mme. de Montespan 

Yes, for Eden is wherever love dwells. There is 
a statue of Cupid below among the trees. Look; 
he seems to smile when the moon is on his face. 
Come, see. And beyond the garden are vistas, — 
far, long vistas. Why are distances so beautiful? 
Come look and we will both forget the present in 
what lies beyond, there where night becomes the 
earth and earth the night. 

[Instinctively he draws nearer to the win- 
dow.] 

Mme. de Montespan 

Look, the moon is up and hangs like a great gold 
lantern in the trees. [She is leaning forward.] 
Listen, that is the sound of voices murmuring. 
Why, see, there are two lovers below there in the 
garden. Look, Moliere, there beneath the statue 
of Cupid, that is for ever aiming his arrows at the 
heart of the world. Look closer; are they not 
kissing? The girl is lovely, is she not, Moliere? 
[His hand is trembling as he clutches the curtain.] 



Act II] MOLIERE 141 

Look closer. And he — he — [Her voice is 
lifted.^ See, they have heard us. Why do they 
flee away like that? Look closer, closer. Have 
we not seen them both before? 

[And suddenly he flings the curtain across 
the window and springs back into the room.^ 

MOLIERE 

I have seen too much. I have seen the end of 
my life. 

Mme. de Montespan 
[Coming over to him, her voice heavy with 
sorrow.^ 
You have my pity, Jean; you have my pity. 

MOLIERE 

[His heart on fire.^ 
That is your garden. No one enters there save 
at your command. This is a trick, — a trick, Ma- 
dame. 

Mme. de Montespan 
You have my pity for now you know. 

[Her arms are stretched out to him. Sud- 
denly he catches her by the wrist and flings 
her from him so violently that she stumbles 
to the floor. J 

Moliere 
[Towering over her.] 
I have asked neither your pity nor this proof. 



142 MOLIERE [Act II 

God forgive you, Madame. Why have you done 
this? 

Mme. de Montespan 

[Cowering at his feet.^ 
Because I love you. 

MOLIERE 

Love? The word sounds loathsome when you 
speak it. That is the way a woman loves, per- 
haps, but not a man. 

Mme. de Montespan 

Sooner or later you would have found out every- 
thing. It is thus too cheaply that she sells her 
faith. It is because I love you that I have done 
this. [She crawls over to him.^ I will be more 
honest. 

Moliere 

You! You! 

Mme. de Montespan 

See, I give myself to you. I, Frangoise de Mon- 
tespan, I give myself to you. Take me, take me. 
[She is on her knees before him.] If your heart 
is broken I will give you strength. Bend over; for 
the love of God, bend over. My lips are wet with 
the dew of oblivion. Drink, drink. Shut out the 
light in my eyes with your kisses. It is in such a 
moment that I would die. 



Act II] MOLIERE 143 

[She clings to him but with a gesture of ab- 
horrence he struggles from her] . 

MOLIERE 

Get up, Madame; I would not have you cringe 
before me. 

Mme. de Montespan 

Have pity on me. 

MOLIERE 

Pity! No, that's another snare. I'm not so 
easily beaten. Do not forget, Madame, I've looked 
into your garden but I'm still Moliere. 

Mme. de Montespan 

It was my will to break your spirit but you have 
broken mine. May Christ forgive me. See, I'm a 
shattered bauble in your hands. 

Moliere 

Get up. Remember you are Mistress of the 
King ; you should not bend to any man. 

Mme. de Montespan 

I have offered myself to you and you do not take 
me. [Her hands are clenched.] Look, I am pray- 
ing to you as though to God. Just for this hour, 
Jean, this one small hour, and then a lifetime to 
forget or to remember. 



144 MOLIERE [Act II 

MOLIERE 

[Half scorn and half command. ^^ 
Get up. This is no brothel but the palace of 
the King. 

Mme. de Montespan 

[Weakly.'] 
You do not love me then? 

Moliere 

[And his voice is low.] 
Now God pity me for my love is below there in 
your garden. 

Mme. de Montespan 

[Suddenly drawing back from him.] 
I have offered you my love. [And then there is 
something terrible in her eyes.] And you have 
turned away from me. What are you that you 
dare do this? Do you think my hate will be more 
welcome? 

Moliere 

Madame, your hate is nothing. It's the hurt. 
[And he glances toward the window.] The hurt. 
And now good-night. 

Mme. de Montespan 
Moliere! Moliere! 



Act II] MOLIERE 145 

MOLIERE 

[At the door. He has half opened it.^ 
Madame, good-night. 

[Her arms are stretched out to him. She 
is going towards him. Suddenly there is a 
sound. It is a key turning in the little door 
that leads to the apartments of the King.} 

Mme. de Montespan 

[Swiftly.] 
Stay, it's Louis. He's come back. He's heard 
our voices. If you go now he'll suspect. Stay. 
Give me a moment. Wait, wait, a word and I will 
find a way that will explain it. 

[And the little door opens and the King is 
in the room.li 

Louis 

Frangoise, Lulli has just sent a messenger, crav- 
ing me to turn back, saying that you were ill and 
wanted me. 

Mme. de Montespan 

[Her eyes are fraught with terror, but her 
lips smile as she greets him.} 
I do, Louis, always, and that means now. 

Louts 
Well, here I am. You're better? 



146 MOLIERE [Act II 

Mme. de Montespan 

[Taking a step towards him.^ 
Much, Louis, now that you have come. 

[^45 the King turns to seat himself he sees 
some one standing over by the door.^ 

Louis 
Who's that? 

MOLIERE 

[Stepping out into the room.^ 
It's I, Your Majesty. 

Louis 

What, you, Moliere? I thought I heard some 
voices. [He looks about him and then turns to 
Mme. de Montespan, his words edged with the 
question.^ And are you quite alone? , 

Mme. de Montespan 

[Quickly.] 
We were planning a surprise, Your Majesty, 
something that's a secret until your birthday. 

Louis 

[Significantly.] 
Then I've come too soon. Is it very secret, 
Frangoise? 



Act II] MOLIERE 147 

Mme. de Montespan 

[Attempting to force the echo of a laugh 
into her voice.^ 
Deeper than the Seine, Sire. 

Louis 

[Slowly, — glancing at de Montespan.] 
I was starting on my way to hunt at Fontaine- 
bleau. 

Mme. de Montespan 

Yes, Louis, and now by God's grace you have 
come back. 

Louis 

God's grace, Madame? Sometimes Heaven's 
works are unexpected then? 

Mme. de Montespan 

What, Louis? 

Louis 

[With a quick look from one to the other. ^ 
So! Whilst I would hunt at Fontainebleau do 
they lay traps in Paris here? It does not please 
me to find you thus alone. 

Mme. de Montespan 

[Fencing for a mvmenfs thought.^ 
You're jesting, Louis. 



148 MOLIERE [Act II 

[She seats herself, attempting again to 
force a laugh.l^ 

I Louis 

No, Frangoise; I save my jests for war and the 
assemblies. I never was in deeper earnest. 
Where are your ladies? 

Mme. de Montespan 

[Swiftly to avoid the answer.^ 
Sire, I was beseeching him to write a ballet for 
your birthday. 

Louis 

Then I'm indeed too soon. Perhaps to the re- 
gret of all of us, I wasn't born until Tuesday. 
Where are your ladies and the lights? Come, let's 
have more lights. 

[And he goes to the door and calls down 
the passage.^ 

Louis 
Lights ! Lights ! 

[And then he turns to DE Montespan and 
the intonation of his voice is like one that 
commands the moment when a whip is lifted.] 

Louis 

Words can seem what they sound like when the 
face is hidden. 



Act II] MOLIERE 149 

Mme. de Montespan 
Sire — 

Louis 

A moment, by your leave. [And he takes a step 
nearer to Moliere.] This is a hidden talent, Sir, 
that I hadn't counted on. Do you sometimes play 
then in the dark? 

[De Montespan springs up.] 

Moliere 

[Seeing the agony in her eyes.] 
Sire, the lady pleaded but I refused. 

[She has taken a step nearer to him.] 

Louis 

[Ironically.] 
A lady pleaded and you turned away? I 
thought I was the king of gentlemen. 

Moliere 

I denied myself the honour of pleasing Your 
Majesty with this ballet for your birthday, for at 
the moment I am at white heat with my new com- 
edy. 

Mme. de Montespan 

Yes, his muse was more importunate than the 
pleasure of his king. 

[She has said this with an attempted gaiety 



150 MOLIERE [Act II 

but the King scents its insincerity. For where 
women are concerned he is no fool.] 

Louis 

We shall see my pleasure or maybe something 
else the better when it's lighter for here come the 
lackeys. 

[And they enter bearing candelabra in 
which are lighted candles. One is placed on 
the table, the other on the mantel shelf. All 
this while Louis never lifts his eyes from 
Mme. de Montespan.] 

Louis 

Madame, you seem pale tonight. 

Mme. de Montespan 
I am a little tired. 

Louis 

Where are your ladies, then, to help you get to 
bed? 

Mme. de Montespan 
I sent them off with Hercules to see the monkeys. 

Louis 
What's that? 



Act II] MOLIERE 151 

Mme. de Montespan 

In the trees at the far end of the Tuileries. 
[Then fencing for time.] We had planned to put 
the lad in the pageant, Sire. He was to enter on a 
camel munching chocolates. He was to play the 
part of Gluttony. 

Louis 
And you, Madame? 

Mme. de Montespan 

I? — Oh, I was to play the nymph Iris in a 
robe of gold. 

Louis 

[And his words are like the edge of a 
rapier.] 
You are so many coloured that I think you'd 
play it well. 

Mme. de Montespan 

[Still smiling.] 
Thanks, Louis. 

Louis 
Truth is more simply clad. 

Moliere 

Or naked, Sire, when it looks upon its naked self 
in pride [and then his eyes meet a swift glance 



152 MOLIERE [Act II 

from DE MoNTESPAN as she goes over to the win- 
dowl or loathing. 

Louis 

Frangoise, I've never seen you quite so beauti- 
ful. 

Mme. de Montespan 

[Her voice soft.] 
Yes, Louis. 

Louis 

Or less honest. [A pause.] I think the truth 
lies smothering somewhere in this silence. No, 
leave the window open. 

Moliere 

[ Taking a step forward but as he again sees 
the trembling terror in her eyes he stops.] 
Your Majesty — 
[A pause.] 

Mme. de Montespan 
What's the matter, Louis? 

Louis 

I do not know. You do. There's too much 
here that's left unsaid. 

[She is looking out into the garden.] 



Act II] MOLIERE 153 

Louis 

Well, then, what is it? 

[Suddenly she wheels around. The ex- 
pression in her face is changed. Where a 
moment before there might have been the 
passing shadow of a fear, there is now a look 
of purpose if not of triumph.^ 

Mme. de Montespan 
Your doubt should be as empty as — well, as 
empty as my garden is. [She has glanced up 
swiftly at Moliere. Then to the King.] If you 
must hear the truth it won't be pleasant. 

Louis 
Go on, go on ; a King must know and master all. 

Moliere 
Else he were less than king. 

Mme. de Montespan 

Louis, you came just in the nick of time. I 
have implored him but he wouldn't listen. [And 
now as she looks at Moliere her eyes are half 
closed with hate.^ Perhaps he'll be more willing 
when his king commands. 

Louis 
[Ironically.] 



154 MOLIERE [Act II 

I've already bit at this ballet, Frangoise, but it 
won't go down. 

Mme. de Montespan 
The ballet was a subterfuge. 

Louis 

[And his voice is bitter]. 
Yes, so I thought. I am a diplomat as well as 
king and therefore used to lying. 

Mme. de Montespan 

A subterfuge I used to save him. Now you shall 
know the truth. 

[And then turning on Moliere she springs 
the trap she has been resolving and all the 
passion thafs pent up in her spills out in a 
burning flood of words.] 

Mme. de Montespan 

Yes, I sent my women off because I did not wish 
that they should hear what I had to say to him. 
If that's displeasing to you I did it to stem a dis- 
pleasure that will hurt you more deeply and nearer 
to the quick. No one should hear what I've been 
begging of him but you have forced me. Sire. 
[And her eyes are like two sharp swords of flame.] 
I have been beseeching your favourite, this come- 
dian; I have been imploring him, I, the Mistress of 



Act II] MOLIERE 155 

the King, to destroy a scandalous play he has writ- 
ten before the matter reached your ears. 

Louis 
What play is this? 

Mme. de Montespan 
One that should never have been thought of. 

Louis 
Why not? 

Mme. de Montespan 

Because in this comedy he has heaped ridicule 
upon my husband and myself. 

Louis 
[Swiftly.^ 
What's that? 

Mme. de Montespan 

This, your little actor, has made merry with my 
soul, Your Majesty; mine, FranQoise de Monte- 
span's. Dare any man do that? 

Moliere 
Sire — 

Mme. de Montespan 

[And her hand is lifted to command his 
silence. 1 



156 MOLIERE [Act II 

Perhaps, Louis, in your great clemency you 
might have pardoned this — yes, even this — but 
your dear player, grown too proud and pompous 
from the grace of your regard, has gone another 
step, a step that's too near treason. Sire, and in base 
disloyalty, in this same play has made even you, 
yes, you. Your Majesty, a butt for the derision of 
the Court. 

Louis 

[For a moment towering with all his little 
might. ^ 
What's that? 

Mme. de Montespan 

[And the words grate against her teeth J\ 
He has used you, his King, as a painted puppet 
for his lewd imaginings so that the lowest clowns in 
France can hoot at you, their sovereign. Now do 
you see why I lied to save him? I knew you held 
this actor dear, but now, now — 

Louis 
Is this the truth, Moliere? 

Mme. de Montespan 

Why look, Louis, can't you see his face tells all? 
[For Moliere stands aghast. Her ruse 
has been too sudden in its turning.^ 



Act II] MOLIERE 157 

Louis 

No, there's some error here. Moliere would not 
do that. 

Mme. de Montespan 

Ask him, Your Majesty; he'll not dare deny it. 
LuUi had news of this at Chambord. After the 
fetes there I sent for Moliere but he would not 
come. I sent for him to beg him to destroy this 
comedy because I knew you loved him and because 
I've seen the terrible just haste of your displeasure 
when anger moves you. Again this evening I bade 
him come to me. Yes, I have suffered this — even 
this^ — for you and now I've told you all out of my 
love for you and my deep loyalty. 

l[The thrust was well chosen. She has 

touched the King in his most vulnerable spot, 

his vanity.] 

Louis 

Moliere, is this so? Have you dared to laugh at 
me? 

Moliere 

Sire, if you'll grant me time I can explain, 
though it's not easy in the web that's spun about me. 

Louis 

If you have done this I do not think that words 
will alter it. 



158 MOLIERE [Act II 

Mme. de Montespan 
Some of the filthy sheets were read to Lulli. 

MOLIERE 

Ah, Giovanni! I might have guessed it. 
[Then with a smile that sneers.^ Your Majesty, 
no man's a friend at Court whose foot is on the 
ladder. 

[De Montespan is about to speak but his 
tone arrests her.] 

MOLIERE 

In life no woman's true whose heart is hungry. 

Mme. de Montespan 
Louis — ^Louis ! , 

Louis 
What's that to do with this? 

Moliere 

Nothing. [And his words are for de Monte- 
span and not the King.] Nothing except that all 
things tie together thus to drag me down. 

Louis 
Have you written such a play? 



^ Act II] MOLIERE 159 

MOLIERE 

Sire, the matter's but a jest. 

Louis 
. Is it a jest to make laughter of your King? 

MOLIERE 

Do not the gods make laughter of us all? 

Louis 

I do not think your similes can make this fact 
more lovely. Come, have you written such a com- 
edy? 

MOLIERE 

If envious eyes so read it, yes, it's written. 

Louis 

You dare to be disloyal to your King? 

[De Montespan is ivatching him. She 
has gauged correctly, for His Majesty's anger 
■ is mounting past control.] 

MOLIERE 

Not disloyal to my King, but loyal to my muse. 
The play's but meant for laughter. 

Louis 
Is no price, then, too high to pay for laughter? 



160 MOLIERE [Act II 

MOLIERE 

You weigh the matter with a weight that's not its 
purpose. 

Louis 

Sir, if you have made this lady seem ridiculous, 
why, that's enough. 

MOLIERE 

It's her will to make me seem something baser 
still and that's a traitor to Your Majesty. My play 
is but a farce written in a moment's merriment. 
There may be reasons though why there are others 
who would make of this comedy a sudden scaffold 
for my hanging. Your Majesty, I do beseech you, 
let's have done with this. 

Mme. de Montespan 

Sire, the matter is not so easily scattered. 
You'll be the jesting stock of Paris for this author 
has crucified you upon the filthy gibbet of his wit. 

MOLIERE 

Madame, and you would break me upon the hid- 
den rack of your desire? 

Mme. de Montespan 
[To Louis.] 



Act II] MOLIERE 161 

Forgive this insult and he'll be the first of many 
who'll dare gibe at you. 

MOLIERE 

You urge a low intention that I never meant. 

Mme. de Montespan 
[And the words bite.] 
Sire, is nothing holy to these witty men? 

Moliere 

Madame, is nothing safe beyond your hate? 
[Then to the King.] This comedy, Your Majesty, 
may mean much mirth hereafter, when you and I 
and this too loyal lady here are but dry dust that's 
scattered in the mad whirlings of the wind. 

Mme. de Montespan 

Louis, he has flung low laughter in your face 
and you are less than King if you forgive him. 

Louis 

No, for it's gone beyond forgiveness and has 
reached command. Moliere, I command you to 
destroy this comedy. 

[And he lifts his hand as though to strike 
him.] 



162 MOLIERE [Act II 

MOLIERE 

[Stepping back, his head high lifted,^ 
You command me. Sire? 

Louis 
Am I not still your King? 

MOLIERE 

Yes, to command me. Sire, but it's left to Mo- 
liere to obey. 

Louis 

What's that? 

[And he threateningly steps nearer to him.^ 

MOLIERE 

Yes, you have made of me a courtier to obey 
you, and if you strike me it would be my craven 
duty to beg pardon with a smile. But now the 
truth breaks in the dim places of my mind. Sire, 
you command me to destroy this comedy. What 
matter if I do or do not? You'll still be King of 
France, and I, Moliere, tho there be one farce 
more or less. The play is nothing. It's this com- 
mand that matters. For that's the lash that makes 
me feel how lowly under the beatings of your will 
I've bent to serve you. What have I done at your 
too base commands? What have I left undone? 
What godlike biddings have I left unanswered 



Act II] MOLIERE 163 

to pipe the paltry pageants of your Court? Oh, 
that's the deep dishonour of it all, — that I, Moliere, 
who in my plays have hooted at the hypocrites and 
with my pen have flayed the scheming seekers, that 
I, Moliere, here at your pampered Court, to your 
too honeyed orders have been myself a liar and a 
slave. 

Louis 

[And his voice is the voice of a king.] 
Beware ! 

Moliere 

[And his voice is the voice of a man who 
greets his freedom.] 
A moment. Sire, for this moment's mine, this 
sudden moment that smites with blasting truth the 
dark remembered days and deeds that crowd about 
me. Now I would go out upon the bridges of your 
Paris and shout to all the listening crowds. Now 
let all those come at whom I've laughed and with 
their pitiless laughter let them hurl laughter back 
at me. Now I must drink the bitter acid that I've 
flung for now I know that often, oh, too often, I've 
left unwritten the deep truth that moves the human 
spirit to buy this gilded pleasure of a King. 

Mme. de Montespan 

Yes, of your King, by the Divine right of God. 
[And now she stands between them.] 



164 MOLIERE [Act II 

MOLIERE 

Yes, of this King by the blind right of accident, 
this King who for his tinselled whim has chained 
my spirit. I am Moliere and Moliere should know 
no King nor any rule save to serve the world with 
truth. 

Louis 
Moliere, I hold your destiny here between my 
fingers. 

[And he lifts them as though to snap them.^ 

Moliere 
Open your hand, Sire. My fame no longer lies 
between your fingers but in the heart of France. 
They are waiting for me, all my people. It is for 
them I will write. It is for them I have lived and 
dreamed. Ever since the old days and I, an hum- 
ble, an unknown player, followed the ox-cart with 
a song in my heart through the winding lanes of 
Languedoc. 

Louis 
[Slowly, for his sudden anger has become 
something that's more lasting.^ 
Drink deeply of your words, my player, for 
words are but the wine of hope that drugs us. 

Moliere 
No, I am not drugged on words but thirsty for 
my freedom. 



Act II] MOLIERE 165 

Louis 

[And his voice is sinister.] 
Be not too rash to cast me off, my brave come- 
dian. See, if I wish to I can break you as I break 
the crystal of this watch. [And as he speaks he 
takes the little watch from among the trinkets that 
are lying on the dressing table and splinters the 
glass against its edge.] Look, for the moment I 
have halted time. The hour has stopped just on 
the hour. Perhaps it is your hour, my comedian. 
[And then bitterly, driving each word home.] 
When I forget then France forgets. 

MOLIERE 

No, my people, they will not forget. They are 
waiting with shouts to greet me. 

Mme. de Montespan 

[And now her smile is filled with triumph.] 
We shall see. The King is still the King. 

MOLIERE 

Yes, we shall see. [And then turning on the 

King.] Sire, I have been a servile lackey to your 
laughter and at your bidding your powdered clown; 
' but these things I now throw off for ever, for now 
my mind shall be my sovereign and my unshackled 
soul, my king. 



166 MOLIERE [Act II 

Louis 

* 

Moliere, remember I have spoken. 

MOLIERE 

Sire, remember it is thus I answer you. I have 
put my faith in kings; now I will give it back to 
France. 

[And thus sacrificing his fame as an author 
and an actor and the future of his company, 
he rushes from the palace. J 

Louis 

[After a moment's silence, for in Moliere's 
voice far off has sounded the dim echo of the 
fall of kings. ^ 
That fool has been too noisy with his words. 

Mme. de Montespan 

Sire, what matter, for if I know you, and I think 
I do, your player has outrun his breath. Now may 
I close the window? For at last the twilight's 
fallen and the night is growing damp. 

[Then as she stands in the window niche.^ 

Louis 

Frangoise, now I know you never were so beau- 
tiful. Look, the moonlight's all about you. 
[And it plays about her hair.^ 



Act II] MOLIERE 167 

Mme. de Montespan 

[Her voice sweet and low with languor as 
she comes over to him.^ 
Louis, my lover, come let's see how fair my bed 
of silver is, for look; the moon that makes me beau- 
tiful has spread its hand of silver on the sheets. 



[and the curtain falls] 



ACT III 



The Characters in Act III Are 

Claude Chapelle, a life-long friend of Moliere. 

La Fontaine. 

A Doctor. 

La Forest. 

Colinge. 

Moliere. 

The Actress who plays Toinette. 

Another Actress. 

Armande. 

Several Actors in the Fantastic Costumes of the 

Ballet. 
The King's Chamberlain 

and 
The King. 

The Scene is the same as Act I. 

The time of the action of Act III is before, dur- 
ing, and after the fourth performance of Mo- 
liere's '^'Imaginary Invalid,^' February seven- 
teenth, 1673. 



ACT III 

During Act III the curtain is lowered to denote the 
passing of two hours' time. 

The scene is the same as Act I, Moliere's Study at 
the Palais Royal. It is four o'clock of a win- 
ter s afternoon and through the window is seen 
the view of the nearby houses and the falling 
snow. A fire is lit in the deep fireplace and 
in a corner is a brazier. Though there has 
been little actual change in the room there 
should be suggested in the first episode an at- 
mosphere of quiet and a hint of sadness in 
contrast to the crowded and more brilliant 
rhythm of Act I. 

The second episode which is played during and 
after the fourth performance of the "Imag- 
inary Invalid" should be pitched with a sense 
of the foreboding of the end and throughout 
there should be suggested the silent stir which 
pervades the back stage of a theatre during 
a performance. A view of the play that is 
going on can be seen by the actors through the 
door in the left wall of Moliere's study. 

When the curtain lifts on the first episode, La Fon- 

171 



172 MOLIERE [Act III 

TAINE, Chapelle, a life-long friend of Mo- 
liere's, and the Doctor are seated at the 
Master s table and are drinking the Master s 
wine. Near the fireplace sits La Forest. In 
her lap is a costume she is mending. Close to 
her is Colinge, who for the early part of the 
scene is silent. When La Forest is up and 
about he moves nearer to the fire to warm his 
hands. 
Chapelle is standing and with lifted glass is 
singing. 

Chapelle 
Tra-la-la-la! 

La Fontaine 

Miraculous! Though the intention is that of a 
nightingale the voice is that of an angry bull. How 
do you like it, Doctor? 

The Doctor 
I know so little about music. 

La Fontaine 

In such matters ignorance is best, for music is the 
divine riddle whose answer is itself. [Then to 
Chapelle.] Another song, Claude. 

Chapelle 
Tra-la-la ! 



Act III] MOLIERE 173 

La Forest 
[Rushing over to him.^ 
For the love of God, if you're the nightingale, 
be silent. He's asleep in there, resting before the 
play. 

[And she points to Moliere's dressing- 
room.^ 

Chapelle 
My friend, the entire troupe might be resting for 
all the impression Moliere's latest play has made 
on Paris. [But at the moment song seems to be 
the most pressing thing and so he continues. li Tra- 
la-la! 

La Forest 
If your throat's so parched that you must be 
making sounds like that, I'll fetch another bottle. 
I'd rather have you drunk than singing. 

La Fontaine 
Why not both? If not drunk on wisdom, then 
on wine. Life is the merry-go-round of disillu- 
sion. 

La Forest 
[To La Fontaine.] 
Monsieur, don't you think that maybe there's talk 
enough in the world already? 

Chapelle 
Tra-la-la-la! 



174 MOLIERE [Act III 

La Forest 
Keep quiet, all of you. 

[She goes over to Moliere's door.] 

Chapelle 
It might be better if he awoke and came and 
drank with us. Then he might forget Armande. 
It's six months since she left him, isn't it? 

La Forest 
Be still, for the love of God. No one dare speak 
her name. 

La Fontaine 

Then let us drink to silence. Fill the cup, La 
Forest; we will drink our dreams. It is only when 
we close our eyes that we see everything. 

La Forest 

[Back at the table.] 
What are we to do? He's for ever making 
speeches. 

La Fontaine 

Is there still another bottle? 

La Forest 

You know the master has never been a saver 
when it comes to friends. 

[She goes over to the cupboard; the Doc- 
tor follows her.] 



Act III] MOLIERE 175 

The Doctor 
None of you knows how ill he is. [Colinge 
looks up, listening.^ If he plays today the strain 
may be too much. I've warned you. 

La Forest 
Shh! What if he should hear you? He'll not 
listen to me. He'll not listen to any one. It is 
only when he is acting that he seems to forget her. 

Chapelle 
[Obliviously singing.^ 
"The springtime when the new rains fall — " 

La Fontaine 
La Forest, listen; you're a woman. This song 
has to do with love. 

La Forest 
What? 

La Fontaine 
Love, the green season in the world and in the 
heart of man. 

La Forest 
[Coming back to the table.l 
Shhh! Keep quiet. 

The Doctor 
[To Colinge.] 
Why does he have them about at all? 



176 MOLIERE [Act III 

COLINGE 

He likes to sit listening to their songs. It's like 
in the old days when he was still the King's come- 
dian. 

The Doctor 
How did he lose the favour of the Court? 

COLINGE 

No one knows. They say the Italian LuUi lied 
about him. 

Chapelle 
[Singing.] 
"Then in my heart the skylarks call — " 

The Doctor 

[Over at the table.] 
Gentlemen, a word. Your friend is very ill. 

Chapelle 

Nonsense; he's been like this before. Now that 
the people are in Paris for the fair the houses will 
be better. [He drinks.] That makes all the dif- 
ference. 

La Forest 

You are right, M. Claude. When the people 
laugh it's like new blood in his veins. 



Act III] MOLIERE 177 

Chapelle 

Then let us drink to hope and houses though 
there weren't fifty people out in front on Monday. 

La Forest 
That's a lie. There were easily seventy. 

La Fontaine 

What? Are there still threescore faithful peo- 
ple here in Paris? And in the old days the King's 
guard had to keep the crowds away. 

La Forest 
Each day his comedy goes better. 

La Fontaine 

What matter? No play matters unless the great 
world sets the pace, the great stupid world that 
stumbles tipsy along its road of stars. More wine, 
La Forest. The Court's forgotten Moliere though 
he is still the greatest man in France. 

La Forest 

Soon this "Imaginary Invalid" of his will be 
known everywhere. 

La Fontaine 

His "Imaginary Invalid"! With what an un- 
dreamed whimsy fate has set the stage, that he, an 



178 MOLIERE [Act III 

invalid, in fact, should play the clownish victim 
of these pills and purgings. Life — life — what was 
I saying — ah, well, no matter. Fill the glass. 

La Forest 

This is the last bottle. Soon the actors will be 
coming. 

Chapelle 

[Very lugubriously.] 
Woe is me! 

La Fontaine 

What's the matter? 

La Forest 

He's always like that when he isn't empty. In a 
moment he will want to die. 

Chapelle 
I do. I do. 

La Forest 

What did I tell you? 

La Fontaine 
Which way lies the river? 

La Forest 

What do you want with the river? Isn't he wet 
enough? 



Act III] MOLIERE 179 

La Fontaine 

It's the cleanest way. He might jump in. I 
don't remember but I'm sure I saw the river some- 
wheres this morning. 

Chapelle 
Woe is me! 

La Forest 

Stop it, I tell you. It's the tenth time in two 
weeks that you want to go to heaven when your 
breath's so strong that St. Peter wouldn't let you 
pass. 

Chapelle 
[Sadly.] 
Is there still time for repentance? 

La Fontaine 
[Dryly.] 
Doubtless; there always is — time, if not repent- 
ance. 

Chapelle i 

Thanks, for blesseder than the needle's eye is the 
camel that repents. Now just one more drop to 
strengthen me on the way to righteousness. 

La Forest 
Hurry; the troupe is late this afternoon. 



180 MOLIERE [Act III 

COLINGE 

In the old days by this time there would already 
be a crowd at the window. 

Chapelle , 

Good-bye! 

La Fontaine 
What if you should really get to heaven after all 
with all the angels singing out of key? But that's 
a risk we all must run. 

Chapelle , 

Farewell, my friends. La Forest, tell your mas- 
ter — 

Moliere 
[Standing in the doorway of his dressing- 
room.] 
What? Your voices woke me. 

[He is spent and weary. Some of the old 
assurance and force have gone out of his man- 
ner, but still at moments there are flashes of 
the ancient power.] 

La Fontaine 

You've come just in time, Jean, to bid the falter- 
ing Claude farewell. 

Moliere 
[Stepping toward the door that leads to the 
street.] 



Act III] MOLIERE 181 

Good-bye, both of you, and come back early for 
the play. Half of the places are sold already. 

COLINGE 

More, master; some ten or fifteen more. 

MOLIERE 

What's that, Colinge? You have been in the 
theatre fifty years and your eye is still upon the 
box-ojffiee. 

La Fontaine 
[With mock seriousness.^ 
What mean such trifles when Claude's doom is 
writ? [For Chapelle is unsteadily making for 
the door.] Look, Jean; Claude is on his way to 
death. 

MOLIERE 

That's true of all of us. But in the meanwhile 
is there no more wine? 

La Forest 
Not that, Master. He's swilled until his gills 
are running over and now there's nothing left him 
but to die. 

MOLIERE 

[Laughingly.] 
Why should he leave the house then, for here's 
a doctor waiting to help him on the way? [Then 
to the Doctor.] Good day, sir. 



182 MOLIERE [Act III 

The Doctor 
You're feeling stronger? 

MOLIERE 

Well again, for sleep has bettered the vile stuff 
you gave me. 

Chapelle 
Farewell, farewell. 

MOLIERE 

[Smiling.^ 
Claude, have you considered the matter well? 

La Fontaine 
He's plumed philosophy to all its bitter dregs. 

MOLIERE 

What's a philosophy? The shadow of a lie cast 
from the light of truth. A help before and after 
never — ^now. 

Chapelle 

The river, the river! 

MOLIERE 

Well, if you insist. Good-bye. 

[And charmingly he holds out his hand to 
him.] 

Chapelle 
[Sitting down at the table.] 
Good-bye. 



Act III] MOLIERE 183 

[At this moment two members of the troupe 
arrive.] 

The Actress who plays Toinette 

It's good to see you up and strong again. 

Moliere 

Thanks. There'll be a splendid house in front 
today. 

, The Second Actress 

We've inquired at the window. So far none of 
the courtiers' seats are sold. 

[La Forest motions her to be quiet.] 

Moliere 

What difference? Who wants these gabbing 
dandies on the stage? Don't you know that it's the 
laughter of the pit that matters? 

La Forest 

[To the women.] 
Hurry or you'll be late. 

The Actress who plays Toinette 
All right. All right. 

The Second Actress 

[To Moliere.] 
Sir, I hope in the new play you write there'll be 
a part for me and not only this bit in the ballet. 



184 MOLIERE [Act III 

The Actress who plays Toinette 
What, you? [She laughs. '\ When you have 
had my experience you will have the right to ask 
for a part. 

The Second Actress 
Yes, and when one is as beautiful as I, one may 
expect it. 

[She smirks beatifically.]i 

The Actress who plays Toinette 
What's that, darling? 

MOLIERE 

[Smiling.] 
Ladies, according to your deserts art will serve 
you. 

The Actress who plays Toinette 
Art, indeed ; I'd like to know what the theatre has 
to do with art? [Then to the Second Actress.] 
Come, darling. 

[They start to go.] 

MOLIERE 

Ladies, play beautifully, for soon all Paris will 
be clamouring for a sight of you. 

The Actress who plays Toinette 
Thanks, sir. [Then to the Second Actress.] 
You speaking lines, indeed. 

[And she bursts into a peal of laughter.] 



Act III] MOLIERE 185 

The Second Actress 

Dear, why don't you give imitations of the King's 
hyena in the tumbler's booth on the bridge? 

The Actress who plays Toinette 

You, indeed. Ha-ha. 
[They exit.] 

La Fontaine 
[Looking after them.] 
Can't the children of the Lord love one another? 

La Forest 
They do, although they are always bickering. 

La Fontaine 
No, I do not believe it. 

Moliere 
Why not? 

La Fontaine 

Because they are actors. 

Moliere 

You do us actors an injustice. We may love 
others but first of all we must love ourselves for 
our ego is our instrument and it is only through 
love that we reach perfection. [ Then to Chapelle 
who has seated himself at the table and is pouring 



186 MOLIERE [Act III 

out another glass of wine.] Claude, I see you're 
bent on going. 

Chapelle 

[Sadly.] 
Yes, but before I die I'd like to see you do your 
Invalid once more. 

La Fontaine 

That's wise. The play's the wittiest he's writ- 
ten. 

MOLIERE 

La Forest, do you hear that? 

La Forest 
Don't believe him; he's been drinking, too. 

Moliere 

Then surely it's the truth, for critics lie when 
sober. My comedy is good. The part grows 
richer as I play it. 

The Doctor 

[To Moliere.] 
Sir, though you scoff at me I beg you not to act 
today. 

Moliere 

What? You would have me disappoint my pub- 
lic and my company and this gallant gentleman who 



Act III] MOLIERE 187 

has so nobly decided to live until tomorrow just to 
see me do Argan once again. [ Then to the others.^ 
Come, gentlemen, I will go with you to the ticket 
window. I too, Colinge. [Then when they have 
reached the door.^ And come back early, friends, 
I urge you, for the house will be so full that there 
will be no room — \^and in his eyes there is a strange 
look'\ no room, Claude, even for this death that 
you are seeking. [Then to the Doctor, pointing to 
Claude.] Go with them till the wine wears off. 
He has more need of you than I. 

[MoLiERE, La Fontaine, Claude and the 
Doctor exit.] 

Colinge 
La Forest, he's worse. I can see it in his face. 

La Forest 
The Doctor's right if he play — 

Colinge 
He will, La Forest, even though — 

La Forest 
You are right, Colinge. I, too, know the mas- 
ter. Alas, sad times have come to all of us. 

Coltnge 
Sad times, yes. But these days are not all bitter- 
ness. Sometimes I watch him sitting there by the 



188 MOLIERE [Act III 

fire and a smile comes into his face, a smile like 
one sees on the faces of children when they're 
sleeping. 

La Forest 
Can we do nothing? 

COLINGE 

I have thought for weeks wondering what is best 
to do. 

La Forest 

He speaks often of the old time. Perhaps if he 
would go to Auteuil. You and I will go with him, 
Colinge, won't we? 

COLINGE 

I will go with the master even into the great 
darkness if he but hold out his hand to me. 

La Forest 

I have spoken with the few friends that remain 
loyal. They say so little that I know that they are 
thinking much. 

Colinge 
And Armande — 

La Forest 

No, we must not mention her. I tried to little 
by little after she had gone but it seemed as though 



Act III] MOLIERE 189 

he didn't hear me. Now no one ever speaks of 
Armande or of the King. 

COLINGE 

What I have done, La Forest, may seem madness 
to you. 

La Forest 

[Quickly.] 
Have you asked Monsieur La Fontaine to beg 
His Majesty's forgiveness for Moliere? 

COLINGE 

No, that is over. 

La Forest 

Sometimes I think it hurts him that he's forgot- 
ten at the Louvre. 

COLINGE 

No, one evening they were speaking of Racine 
and the success of the company at the Bourgogne 
and when they were gone he said, "Colinge, such 
little things as fame are of the moment, but what 
is of the heart is of eternity." And though he did 
not think I knew it his hand closed about the broken 
pieces of a little fan he always carries with him. 

La Forest 
What you have done — is it about Armande? 



190 MOLIERE [Act III 

COUNGE 

Yes, I have seen her. 

La Forest 
You have seen her? Where? 

COLINGE 

She has heen living alone at Chartres. I have 
known it all along. She wants to come back to 
him. It is only the master that she has loved. I 
have been waiting till he spoke of her. Waiting 
for some hint, some sign that I might tell him. 

La Forest 

Sometimes he mutters her name when he is sleep- 
ing and then I must go out of the room lest I wake 
him with my weeping. 

Colinge 

Things have not gone well with the great Moliere 
but his pride is still unbroken. No, he never 
speaks of her. La Forest, but just the same, I think, 
that if only once he could clasp her in his arms 
and know that she still loves him that that would 
be the last happiness he could ask of life. 

La Forest 

[With a tinge of anger.] 
No, that is not possible. 



Act III] MOLIERE 191 

COLINGE 

Why? 

La Forest 

I will not speak her name to him. 

COLINGE 

Are you afraid? 

La Forest 

[And perhaps for a moment her heart is 
more rebellious than she knows.^ 
Of what his eyes will say though his lips be silent. 
We cannot do that, Colinge. 

COLINGE 

We, — not you perhaps, but I, I will do it. 

• La Forest 
What? 

Colinge 
I have done it. Armande is coming back. 

La Forest 

[Echoing him.] 
Armande is coming back? 

Colinge 

Word came from her this morning. My son has 
ridden all the night to bring it to me. She's coming 



192 MOLIERE [Act III 

though she doesn't know how ill the master is. 
She'll be here before the twilight, surely. 

La Forest 
[Slowly, as though to herself.] 
Armande is coming back. 

COLINGE 

If I have done wrong the good God in heaven will 
forgive me but I meant my error to be right. 

La Forest 
May God in heaven forgive all of us, even her. 

COLINGE 

The master. La Forest, he still loves her. 

La Forest 
Yes, Colinge, yes. Only those who love can 
understand this loving and they because they know 
that love is past all understanding. 

Colinge 
So life has taught you that? 

La Forest 
I am a woman and have gone the way of all 
women — [then switching and a little brusquely], 
though I end my days in peeling onions. Have you 
time before the play to go to the pastry cook's and 
bring in some supper for the master? 



Act III] MOLIERE 193 

COLINGE 

Yes, there is still half an hour. [He is at the 
door to the street.] It will be a happy feast; wait 
and see. 

La Forest 

[Stopping him.] 
Her coming back — we must be careful how we 
go about it. 

COLINGE 

I have spoken to the doctor. It will be best after 
the play this evening, just before supper; then he 
will tell the master that she has come. We will 
know what to do, you and I. 

La Forest 

You and I. We are all that are left of the 
troupe, Colinge, of the famous troupe of Moliere. 
We are all that are left to love him. Ah, what's 
the matter with me? Now I must fix the soup. 

Colinge 
Don't forget the cheese. 

La Forest 

[Herself again.] 
Begone; who are you "o order me? Haven't I 
been making it for twenty years? Don't you sup- 
pose I know how he wants it? 



194 MOLIERE [Act III 

COLINGE 

I'll hurry back and see that he sleep a little be- 
fore the play. All will be well, La Forest. This 
morning I saw a look of gladness in his eyes. The 
master's tired, that is all. See that he sleep a lit- 
tle before the play. 

[He is going out as Moliere enters.] 

MOLIERE 

Where are you going, Colinge? 

COLINGE 

To fetch some supper, master. 

Moliere 
Don't be late, Colinge ; remember we cannot play 
without you. 

[Then as Colinge exits, La Forest goes 
over to the brazier in the corner and begins 
preparing the soup.] 

Moliere 

[Looking through the door that leads to the 
stage.] 
Is everything ready for the play? 

La Forest 

Yes, master, everything is ready. Now sit down 
a moment and I'll bring your soup to you. I didn't 
want to wake you earlier. [He has seated himself 
in his chair at the end of the table, in front of the 
fireplace.] Here, now, this way. 



Act III] MOLIERE 195 

[And she arranges a pillow behind his 
head.] 

MOLIERE 

Thanks. How good the soup smells! 
/ La Forest 

There's Parmesan cheese. 

MOLIERE 

Well, let me have it. 

La Forest 

[Scolding him.] 
You'll have to wait till it's ready. 

MOLIERE 

Of course; do you know. La Forest, I've been 
practising bravery all my life? 

La Forest 

[Looking up quickly, a little frightened.] 
For what? For what? 

Moliere 
Just once to be brave enough to disobey you. 

La Forest 

I'd leave you on the moment if you did and 
where would the great Moliere be without La For- 



196 MOLIERE [Act III 

est? Here, I'll put this about you. [And as she 
speaks she takes a robe from one of the chests and 
puts it over him.] Now you mustn't move. 

MOLIERE 

I'll have to, just a little, to smell the soup. Ah, 
how good it is ! Such must have been the odour of 
manna in the wilderness or of ambrosia on Olym- 
pus. 

La Forest 
Now you're talking like Monsieur La Fontaine. 

MOLIERE 

What? 

La Forest 

Saying words that crowd the mouth. Tell me, 
master, you men who write, do you listen to your- 
self when you're talking? y 

Moliere 

[Smiling,] 
Perhaps ; I never thought of that. 

La Forest 

Not you, master; I meant Monsieur La Fontaine. 
His mind chatters like a magpie's. When he isn't 
talking he's forgetting. 



Act III] MOLIERE 197 

MOLIERE 

He forgets many things but not his loyalty to me. 
Life has been kind in that, La Forest. Life has 
given me the gift of friends and when the penny 
pipes of fame are silent it is friends that matter 
most. Colinge has not forgotten and you and Jean, 
and Claude — dear Claude — 

La Forest 
Master, that drunkard is a good-for-nothing. 

MOLIERE 

Only time can tell the good from the nothing. 

La Forest 

Give him time and there won't be a drop of red 
wine left in France. 

MOLIERE 

It is thus he finds his peace. 

[He is tired and his head falls back against 
his chair. ^ 

La Forest 
Master, won't you sleep a little before the play? 

MOLIERE 

[Wearily.] 
Have you forgotten the soup? 



198 MOLIERE [Act III 

La Forest 

It will be ready in a minute now. [She goes 
over to him and tucks the robe about him.^ Mas- 
ter, you're not cold? 

MOLIERE 

No. ■ • 

La Forest 

You're feeling better. 

Moliere 
Much, much. 

La Forest 

Then God be praised. 

Moliere 

Your voice is like a mother's. Do you think I'm 
still a little boy? 

[He has taken her hand.^ 

La Forest 
Master, something in your heart has never grown 
up. 

Moliere 
You're right; you're right, La Forest. Because 
of that I am still a comedian. 

[And as she looks at him a smile that would 
hide his infinite weariness comes into his 
eyes.l i 



Act III] MOLIERE 199 

La Forest 
The costumes needed little mending. 

MOLIERE 

Soon we will have new ones. 

La Forest 
Soon, Monsieur? 

MOLIERE 

For the new season in the spring. 

La Forest 

[Steadying her voice.] 
In the spring? [She is over at the brazier.] 
Ah, how good it smells! 

MOLIERE 

Why do you keep your back turned? Is there 
something in your face that you would not have me 

La Forest 
What should there be? Can't you see I'm busy? 

Moliere 

Come here, La Forest. 

[And she is over next to him and he has 
again taken her hand and sits for a moment 
silently gazing at her.] 



seec 



200 MOLIERE [Act III 

MOLIERE 

So, so, your eyes are a little damp but deep down 
your soul is smiling as it has for all these years. 
You have done well, my friend, for whilst we, the 
wise ones, have hurt our hearts seeking for happi- 
ness, you, every day, year in, year out, in your sim- 
ple duty have lit the candles for the play. 

La Forest 

[Brusquely. '\ 
The price of candles is going up. 

MOLIERE 

You have been as a silent priestess of light at 
the holy altar of our laughter, and it is well to 
laugh, to laugh lest man remembering — 
[His voice falters.] 

La Forest 
You will be tired before the play. 

MOLIERE 

I have known much joy and sorrow, La Forest, 
but it is best to remember what is best. See, I have 
bid that tipsy Claude still live, and why? Because 
I — even I, who feel the mirthless shadows crowd- 
ing round me, know that the fight of life is splendid 
till the end. [He is up.] We shall have new can- 



Act III] MOLIERE 201 

dies for the comedy today and they shall laugh, all 
of them, out there. They shall laugh. 

[And it is as though the house with eager 
eyes were there before him.] 

La Forest 

Master, you are tired. Shall I not tell them to 
close the ticket window? 

MOLIERE 

Why, no; I never was more ready. Today I 
might be the Moliere of the years gone by. Do you 
remember. La Forest, how in the old days you used 
to sit there at the cart's end in the sunlight ever sew- 
ing? 

La Forest 
I do, master. 

Moliere 

Life, too, is that expert seamstress, ever changing 
the sackcloth of yesterday into the motley of to- 
morrow. But we must not look too closely for 
sometimes those bright red patche.« in the domino 
are but the torn hearts of men. 

La Forest 

[Swiftly, so as to hide what is beginning 
in her voice.] 
Your soup is ready. 

[She brings it over to him.] 



202 MOLIERE [Act III 

MOLIERE 

[Sipping it.^ 
How good it tastes! 

La Forest 
I learnt to make it this way years ago at Lyons. 
Do you think we'll play at Lyons soon again? 

MOLIERE 

At Lyons, soon again? Who knows? 

La Forest 
[Carefully, feeling her way.] 
It was there for the first time that Mme. Made- 
leine was ill and the part — was — played — by — 
[Suddenly Moliere has straightened in his chair.] 
Monsieur, let's go back to Auteuil. 

Moliere 
No, the country is desolate in winter. 

La Forest 
When the fair is over maybe not half the places 
will sell and in Auteuil, well, what difference? 

Moliere 
This. I am Moliere, and Paris is still my throne. 

La Forest 
A month there in the quiet and all will be well 
again. 



Act III] MOLIERE 203 

MOLIERE 

Why waste a month when your broth revives me 
now? It is time to dress. 

[He has got up but weakly sinks back into 
his chair. 1 

La Forest 
Monsieur. 

MOLIERE 

Well? 

La Forest 

You're still quite — [And then because of the 
look in his face she changes suddenly] I think the 
woman who plays Toinette does it well. 

MOLIERE 

Why do you switch? I know what's troubling 
you. 

La Forest 

Not that, Monsieur. The doctor says you're 
really well again. 

Moliere 

Of course. Listen, some of the audience are 
coming. 

La Forest 

No, some of the actor? are entering by the door 
beyond the stage. The days seems shorter here in 
Paris, It's not yet five. [His head drops forward 



204 MOLIERE [Act III 

a little. '\ Master, do not play today. Will you 
not listen to me? I have loved you like a mother. 

MOLIERE 

That love at least is past corrupting. 
[He has sunk deeper in his chair. ^ 

La Forest 

Go in, lie down ; I'll wake you in time before the 
play. 

* MOLIERE 

No, fetch my wig and make-up now. 

[She exits into his dressing-room For a 
moment, his eyes half closed, he leans back 
murmuring to himself.^ 

La Forest 

[Entering.] 
Come to your room, Master; see how tired you 
are. 

[He doesn't answer. She comes over and 
puts his wig and make-up on the little table 
that is near him.] 

La Forest 

There, he's sleeping. [She bends over him, very 
gently, like an anxious mother.] My son! My 
son! 



Act III] MOLIERE 205 

[For a little while she stands watching him, 
wiping the tears from her eyes. Then Co- 
LINGE enters, a basket on his arm.^ 

La Forest 
Shhh! He's sleeping. What have you brought? 

COLINGE 

A goose liver and patties and some almond tarts. 
La Forest 

[Scolding him in a whisper.] 
What a fool you are! Do you think we're going 
to feed the King's fat jailer? Goose, indeed, and 
patties. If it weren't for the noise I'd fling them, 
at your stupid head. 

COLINGE 

[Delving in the basket.] 
And here are eggs and half a chicken. 

La Forest 
Well, that's nearer right. 

COLINGE 

It's like you women to judge a man before the 
basket's empty. 

La Forest 

And like you men to have nothing in the basket 
that's worth the judging. 



206 MOLIERE [Act III 

COLINGE 

There's some news. 

La Forest 

Who cares? Since when has there not been 
news? The serpent started news in Eden. 

COLINGE 

They were whispering at the pastry shop. 

La Forest 

Well? 

COLINGE 

So you do want to hear it after all? 

La Forest 

No, you poor old man. [She is leaning towards 
him.^ I'm waiting to hear you sing the psalms in 
Turkish. 

[They are laughing quietly together and 
Moliere has awakened and is listening.] 

La Forest 
Well, what is it? 

COLINGE 

Who do you think was at the pastry shop? 

La Forest 
Any one of all the fools in Paris. 



Act III] 




MOLIERE 207 

COLINGE 


Baron. 




La Forest 


Baron? 




COLINGE 


And his 


tongue 


was wagging about the company 


at the Boui 


•gogne. 


La Forest 



They have done nothing. The troupe of Moliere 
is still the greatest troupe in France. 

COLINGE 

Fat in fame, La Forest, but thin in favour. 
La Forest 

Shhh! What if he should hear you? What was 
the boy saying? 

COLINGE 

There's an intrigue at the palace to reinstate 
Moliere. 

La Forest 

Go on; go on. Why do you lick the words with 
your tongue? 

COLINGE 

I cannot talk as quickly as you listen. 

La Forest 
Well, what is it? Who has spoken to the King? 



208 MOLIERE [Act III 

COLINGE 

No one knows from whence or how it came. But 
they hint some woman's in it. 

La Forest 
Well? Well? 

COLINGE 

They say some one has tried to reach His Majesty 
to crave pardon for Moliere, and that the King — 

MOLIERE 

[Suddenly springing up.^ 
Who has dared do that? Is not my soul my 
own? 

COLINGE 

God forgive me, master. I thought you were 
asleep. 

La Forest 

Now look what you've done with your gossip. 
Master, be calm ; be calm. 

[And Moliere stands beside his table, his 
hand reaching for his chair. ^ 

La Forest 

Colinge, see how pale he is. Master, master. 

Moliere 

There, I'm better. [He has seated himself.] 
What was the lad saying, Colinge? 



Act III] MOLIERE 209 

COLINGE 

Nothing; that was all. 

La Forest 
Master, you must rest. 

MOLIERE 

That was all, Colinge? 

[And he is looking at him so directly that 
the old man turns away.^ 

Colinge 

Yes. [A pause. He is seeking a way out for 
he doesnt want to tell the rest.] Do we play the 
new scenes tonight? 

MOLIERE 

Yes. 

Colinge 

I'd best see to my lines then. My head is none 
too good at best. 

[He is about to go.] 

Moliere 

If you slip, I'll improvise to help you. I will 
not pause or hesitate as you do now. What was 
Baron saying? 

La Forest 

It's almost curtain time. You should be dressed. 



210 MOLIERE [Act III 

MOLIERE 

That's easily done. Only Argan's wrapper over 
these same trousers here. [Then to CoLiNGE.] 
Well, my friend? 

COLINGE 

Master — 

[He falters.^ 

MOLIERE 

Well? 

La Forest 

[Seeing the fear in the old mans eyes.] 
The fire is low. It's bitter cold in here. Co- 
linge, fetch me some wood that's in the passage 
there. 

[CoLiNGE starts to go.] 

Moliere 

Colinge, come over here. I know the news you 
have to tell. 

Colinge 
There is none. 

Moliere 

His Majesty is coming to the play. 

La Forest 

No, master, not that, not that! 



Act III] MOLIERE 211 

MOLIERE 

Why not? I am Moliere; I am ready to forgive. 

La Forest 
Colinge, is it so? 

COLINGE 

I— I— 

La Forest 

[Seeing how the old man hesitates.^ 
Master, master, later. Listen, some of the people 
are coming. 

Moliere 
The truth? 

Colinge 
Master, I cannot lie to you. 

Moliere 
Well, then— 

Colinge 

They were whispering at the cake shop that His 
Majesty refused to grant an audience. 

Moliere 
What's that, Colinge? 

COLiriGE 

And Baron says that this afternoon the King goes 
to see Racine's tragedy at the Bourgogne. 



212 MOLIERE [Act III 

MOLIERE 

[Vaguely repeating his words.] 
Racine— the King — 

La Forest 

[He tries to get up but his strength fails 
him.] 
He is ill, ill. Tell them at the window that the 
play is ofif. Send one of the actors in to help carry 
him to bed. 

COLINGE 

Yes, that will be best. 

[But suddenly Moliere has sprung up and 
with a flash of his ancient power he speaks.] 

Moliere 

No, wait. La Forest. Stand at the curtain. We 
play today. [And there is something about him 
that makes them crouch back in terror.] Go; do 
as I bid you. 

COLINGE 

[His hand stretched out to him.] 
Master. 

Moliere 

[Gently.] 
Dress, sir, or you will be late. 



Act III] MOLIERE 213 

La Forest 

[Her voice frightened.] 
You'll play, Monsieur? 

MOLIERE 

Yes, for whilst this afternoon His Majesty and 
the Court are at the Bourgogne for Racine's trag- 
edy, I, Moliere, here at the Palais Royal will play 
my "Invalid," — my comedy — for the people of 
Paris who have come up for the fair. [And from 
utter exhaustion he has sunk into his seat. Then 
as he slowly lifts his head and the curtain is fall- 
ing.] Light the candles. La Forest; I am ready. 

When the curtain tifts. La Forest is at the door to 
the left that leads to the stage. She is watch- 
ing the performance. When the door is 
opened there can be heard from beyond the 
confused voices of the actors and the applause 
and laughter of the audience. Chapelle en- 
ters from the right.] 

Chapelle 
How's it going. La Forest? 

La Forest 

Well, why aren't you out in front? Is there no 
room? 



214 MOLIERE [Act III 

Chapelle 
Too much. 

La Forest 
Why do you come back here? 

Chapelle 

[Glancing at the table. ^ 
It's cosier. 

[He has taken up a bottle but finds it 
empty.] 

La Forest 
I thought you were going to jump into the river. 

Chapelle 

Old woman, you are vindictive. Don't you like 
me about? 

La Forest 

I, Monsieur? Of course; you're about as wel- 
come as salt to a wound. 

Chapelle ' 

Thanks. 

La Forest 
What do you thank me for? If I didn't know 
you loved the master I'd never let you pass that 
door. 



Act III] MOLIERE 215 

Chapelle 

[Seriously.^ 
Jean should not have played today. 

La Forest 

What could I do? We begged him but he would 
not listen. 

Chapelle 

Is there any danger? 

La Forest 
How should I know? 

Chapelle 

You are always whispering in the corner with the 
doctor. Women always do that; I think they like 
it. 

La Forest 

What do you know about women or anything else 
except the bottom of an empty glass? 

Chapelle 

That reminds me. Is there still a bottle that's 
unfinished? 

La Forest 

See for yourself. [She points to the cupboard 
and then opens the door to the stage a little. A 



216 MOLIERE [Act III 

sound of laughter is heard from the front.] It's 
going well. 

Chapelle 

[Stopping on his way to the cupboard.] 
How does he seem, La Forest? 

La Forest 

It's near the last scene ; I think all will be well. 
[Chapelle has taken up the bottle but sud- 
denly he puts it down and comes over to her.] 

Chapelle 
I'll watch with you. 

La Forest 

Listen, now he's speaking. His voice is stronger, 
isn't it? 

Chapelle 

Yes, it seems so. You must not let him act to- 
morrow. Take him to Auteuil; make him rest. 
Keep him there ; I will come and see you. 

La Forest 

Why, Monsieur? We brought all the best wine 
up to Paris with us. 

Chapelle 
Your heart is hard, old woman. 



Act III] MOLIERE 217 

La Forest 

I've made it so lest life should break it. [Then 
looking through to the stage.} If only he is strong 
enough to finish. 

[CoLiNGE enters from the stage.] 

La Forest 
How is he? We cannot see well from here. 

COLINGE 

Give me his robe. It's cold off stage when he 
makes his exit. 

La Forest 

[Handing it to him.] 
How is he? Has he spoken to you? 

COLINGE 

Yes, he seems better. The comedy is going well. 
He has them in his hand. He is happy. He need 
but lift his little finger and they laugh. 

Chapelle 
Are there more out in the theatre than last night? 

COLINGE 

No, I do not think as many. 

La Forest 
Has he cut at all? 



218 MOLIERE [Act III 

COLINGE 

No, he plays each scene a little slowly, that is all. 

La Forest 
[Opening the door a bitS\ 
Listen! 

\_A pause. From the front the low murmur 
of voices is heard, then laughter J\ 

La Forest 
Surely he's the greatest actor in the world. 

COLINGE 

Look, that's new business. He's sitting up. 

Chapelle 
I cannot see. 

La Forest 

Go 'round in front. 

' Chapelle 
But— 

La Forest 

There'll be wine for supper. Come back later. 

Chapelle 
You don't hate me after all, do you? 

La Forest 
No, get out. And if you feel like laughing at 



Act III] MOLIERE 219 

the comedy, why, laugh, even though you are a 
friend. 

[Chapelle exits.] 

COLINGE 

Has Armande come? 

La Forest 
Not yet. 

COLINGE 

I will go back now. I like to be behind his chair 
waiting when he comes off. He may need some- 
thing. 

[The Actress Who Plays Toinette en- 
ters from the stage.] 

The Actress who plays Toinette 

Here, please, help me change this. 

[They help her to put on the Doctor's robe 
over her servant's dress.] 

La Forest 
Is he very tired? 

The Actress who plays Toinette 
No, he's acting well. There's something about it 
all I can't make out. 

La Forest 
What? What? 



220 MOLIERE [Act III 

The Actress who plays Toinette 

I do not know. It's as though he poured his life 
into every word he's saying. Where is the syringe? 
When I enter with it that business always gets a 
laugh. 

La Forest 

[Handing the "'prop" to her.]^ 
Here. 

COLINGE 

Hurry on ; that's your cue. 

[The Actress Who Plays Toinette ex- 
its.] 

La Forest 

As though he poured his life into it. She does 
not know what she is saying. Listen, go to the win- 
dow. Isn't that a coach stopping at the door? 

COLINGE 

I hear nothing. 

La Forest 
Go see. 

COLINGE 

[At the window, looking out.] 
You are right. It is Armande; she has come 
back. 



Act III] MOLIERE 221 

La Forest 

She has come back. To what, Colinge? Now 
go ; he may need you. 

[And Colinge exits to the stage. Then she 
draws the curtain across the door and turns to 
face Armande.] 

La Forest 

Madame, madame. 

[A pause. Armande is standing furtively 
on the threshold, uncertain what to do, what to 
say.] 

La Forest 

Armande, come to me. Have you forgotten that 
I have been your nurse? 

Armande 

[In her arms.] 
La Forest! La Forest! 

La Forest 
There, there, now you're a little girl again. 

Armande 
Does he know that I am here? 

La Forest 
Later, after the play, we will tell him. 



222 MOLIERE [Act III 

Armande 

I have ridden twice to the theatre and then turned 
back. I have been afraid. I stood on the quays 
down at the river. For a moment it seemed as 
though that would be best. Everything was drift- 
ing away to forgetfulness. I went nearer. I 
leaned over and then suddenly in one of the barges 
a woman began to sing and then life struck in at 
my heart all red and warm and the desire to live 
was more terrible than the will to die. I have been 
walking for an hour, back and forth, up and down, 
up and down, through the streets and then I found 
myself in a church somewhere across the river and 
suddenly the words of a prayer came to me and 
I thanked God for the song of the barge woman 
and then I came here. 

La Forest 
Madame. 

Armande 
Let me go to him. 

La Forest 
In a little while now the play will be over. 

Armande 

Jean, Jean. Why, see; everything is as it used 
to be. ]She is at his table.^ Look, a comedy. 



Act III] MOLIERE 223 

His quill. [She takes up some of the sheets of the 
manuscript.] The ink is hardly dry. 

La Forest 

Madame, those are the little things, the little 
quiet things that save and steady the crazy world 
when men, their hearts gone mad, rush about like 
frightened children in a shower. 

, Armande 

That is how you used to speak to me long ago. 
It is good to be back. Just to hear his voice again, 
to feel his presence everywhere. Why, look; even 
his broth is waiting for him when the play is over. 

La Forest 

It should be nearly finished now. 

[She goes over to the door and stands for a 
moment listening. Then the door opens and 
instinctively Armande steps back behind the 
fireplace. The Actress Who Plays Toi- 
NETTE enters, taking off the Doctor's robe.] 

The Actress who plays Toinette 

It's hard to keep pace with him now. He's play- 
ing with such spirit. Where are the props for the 
baUet? 

La Forest 

Here. [And she hands the woman a bundle of 



224 MOLIERE [Act III 

books and some tall black hats.^ See if there isn't 
some way to cut the business short; he seems tired. 

The Actress who plays Toinette 
No, he's all right. 

[And she exits Ji^ 

Armande 
La Forest, when that door opened I was fright- 
ened. It might be better if — if — {^She has taken 
a step toward the door to the street.^ Now that I 
have come I am frightened. I will not be able to 
tell him all. 

La Forest 
After a while perhaps, Madame, little by little. 

Armande 
Every night I have been on my knees praying for 
God's forgiveness and for his. Is there a hope, La 
Forest, that he will take me back? 

La Forest 
Though he has not spoken your name I think he 
has been waiting for your coming. 

Armande 
Jean, Jean. 

La Forest 
But you must be weary, Armande. You have 
ridden all the day. Come here; sit by the fire. 



Act III] MOLIERE 225 

[A moment after The Actress Who Plays 
ToiNETTE enters.] 

The Actress who plays Toinette 

[Not seeing Armande.] 
La Forest, help me off with this. 

La Forest 
[Low, to the woman.] 
How is he? 

The Actress who plays Toinette 

I cannot make it out. Sometimes the scene goes 
swiftly, sometimes slow. Quick, I have another 
entrance now. 

[She exits.] 

Armande 
Are there many out in front? 

La Forest 

Not many and in the old days all Paris waited, 
eager for his comedies, but now — 

Armande 
Things have gone badly? 

La Forest 

For months, Madame. Not once in all the time 
you've been gone has he been summoned to the 



226 MOLIERE [Act III 

Palace. Some quarrel, Madame, something of 
which we do not know. Those happy days are over. 

Armande 
You are wrong. 

La Forest 
What, Madame? 

Armande 
Those days will come back. 

La Forest 
How, when we are forgotten at the Louvre? 

Armande 
Soon, La Forest. I have seen the King. 

La Forest 
[In amazement.^ 
What, Madame? 

Armande 
This morning. Boileau gained me admittance, 
to His Majesty. I have craved his pardon. Old 
memories were awakened. He has forgiven Mo- 
liere. He is coming to the play. 

La Forest 
Madame, when, when? 

Armande 
This afternoon. 



Act III] MOLIERE 227 

La Forest 

Oh, God be praised. Armande, you've not come 
empty-handed. You've brought your love back, to 
the master and the favour of the King. God grant 
he come in time. [She rushes over to the door to 
the stage and stands listening. From the front 
comes the confused murmur of voices.] Oh, Ma- 
dame, if it could all be as it used to be! [Sud- 
denly she starts back.] Madame, Madame! 

Armande 
What is it, La Forest? 

La Forest 

[Her voice trembling.] 
Some one has missed a cue. Now it is all right 
again. [She has turned and has swiftly shut the 
door as Armande comes toward her.] Sit down, 
Madame; no, there by the fire. 

Armande 

La Forest, what is it; your face is suddenly so 
white? 

La Forest 

Nothing; we are worried. People do not come 
and the master — ^he — he — must rest. This endless 
playing — 



228 MOLIERE [Act III 

Armande 

We will care for him, you and I. [From the 
front sounds the din of voices.] It is going well. 
[She steps nearer the door.] 

La Forest 
Madame, do not open that door. 

Armande 

Why, how strange you act. I've often watched 
the plays from here. 

La Forest 

The master has given orders. No one is to come 
or go. 

Armande 
From here we can catch a glimpse. 

La Forest 
Madame, Madame! 

Armande 

Why, what's the matter? 

[She has passed La Forest.] 

La Forest 

Do as you will. Words cannot alter what is to 
be. 



Act III] MOLIERE 229 

Armande 

[Nearer the door.] 
I will open it only a little, La Forest. No light 
will strike him. 

La Forest 
Madame, Madame! 

Armande 

What is it, La Forest? 

[The voices beyond grow louder. Ar- 
mande rushes to the door.] 

La Forest 

[Stopping her.] 
Madame, don't, don't. 



Why not? 

He— 

What? 



Armande 

La Forest 

Armande 



La Forest 

Oh, God! it's as I feared. I thought there might 
be some hope, Madame; that is why I said nothing. 
But now, now — 



230 MOLIERE [Act III 

Armande 

[Almost fiercely, catching her by the 
wrists.] 
What? What? Look at me. I am no longer 
little Armande. 

La Forest 

[And her voice is hardly audible.] 
Armande — the Master — 

Armande 

[Stumbling back weakly against the table.] 
Is it that — that? 

La Forest 

Yes. It is the last scene he will ever act. He is 
playing with his life. 

Armande 

[Sinking into Moliere's chair at the table.] 
Jean! Jean! 

[Chapelle and La Fontaine enter from 
the street. At first they do not see Armande.] 

La Fontaine 
Jean is very weak. The play cannot go on. 

Armande 

[Stepping forward.] 
Tell them to draw the curtain. 



Act III] MOLIERE 231 

La Fontaine 
You have come back, Armande? 

Armande 
Yes, La Fontaine, but too late, — too late. 

COLINGE 

[Entering from the stage. ^ 
I can watch no longer. They think he's acting. 
They shriek with laughter and when he falters for 
his lines they jeer at him. Ring down the curtain; 
it's the end, the end. 

La Forest 

[Flinging open the door to the stage.] 
Master! Master! Listen, the people are an- 
gry; they are shouting. He's coming. Master, 
master! 

La Fontaine 

[Gently to Armande.] 
The shock may be too sudden if he sees you now. 
Wait in there; we will call you. 

[Armande exits into Moliere's dressing- 
room and the next moment Moliere enters 
leaning on the arm of the Doctor and The 
Actress Wh6 Plays Toinette. The other 
actors, in the fantastic costumes of the ballet, 
crowd into the entrance from the stage.] 



232 MOLIERE [Act III 

MOLIERE 

[Staggering on the steps.^ 
See, see; I'm better. I knew there was no dan- 
ger in my comedy in counterfeiting death. There, 
I'm better. Did it go well? 

[They have led him to his chair at the 
table.] 

La Forest 

Lie back, master. 

[She wraps the robe about him.] 

The Doctor 

[Quietly to the others.] 
Stand back, all of you. Colinge, quickly, that 
stdol for his feet, and now some water. 

MOLIERE 

La Forest, tell them we rehearse at ten tomorrow; 
remember — ten. [And now he lies back weakly in 
his chair, his hand moving vaguely in front of 
him.] That scene in my new comedy would be 
better thus. [He feels in the air about him. At 
a sign from the Doctor, La Forest brings him 
some sheets of his manuscript and his quill.] 
Yes, better thus. [For a moment he sits in thought, 
then a smile comes into his eye and he writes a 
word or two.] What do you think, La Forest? 
It's nearer life like this, isn't it? Listen. [And 



Act III] MOLIERE 233 

with a trembling voice he reads what he has writ- 
ten.^ "Madame, do you think it matters how many 
lovers you may have had?" [Then the quill falls 
from his hand and the papers flutter to the floor.] 
How cold, how cold it is ! 

La Forest 
Master, your broth is waiting. 

MOLIERE 

[His hand stretching out to reach it.] 
Yes, give it to me. She makes her soup as 
strong as brandy, Claude ; you best remember that, 
as strong as brandy. 

The Doctor 

[Pouring something from a little flask into 
the water which Colinge has brought him.] 
Here, sir, drink this. 

Moliere 

What? You would keep me living, sir? 
There's some quaint contradiction in it all. How 
often have I killed you doctors in my plays and 
now you'd have me live, now when I am ready to 
play the last great role which has no lines nor any 
business in it. How cold it is! I'm dying of the 
cold. 



234 MOLIERE [Act III 

La Forest 

No, master, by tomorrow — 

[Armande is in the door behind him, un- 
seen, her arms stretched out to him.] 

MOLIERE 

By tomorrow. La Forest, — do you remember all 
those tomorrows of the long ago? Listen; that's 
the switch of the whip. How sweet the air is on the 
high-roads! We are going on, on. Look, the 
broad, white, swaying backs of the oxen — and over 
there, over there, Colinge, in the valley is the tower 
in the market-place. Don't worry, Colinge; it isn't 
going to rain. See, the clouds are blowing over. 
There'll be a crowd and we'll do business. 

The Doctor 
Sir, you're very weak. Lie back. 

MOLIERE 

[His voice for a moment stern as though he 
were addressing his company.] 
My friends, act your best today. The troupe of 
Moliere is playing at the Louvre. [And then sud- 
denly he has straightened in his chair.] What, 
Sire, it's this command that matters? I'll no longer 
be a lackey to your laughter. For now — the truth 
— the truth — but what matter all of that? [And 
his voice is hardly audible.] Armande, Armande! 



Act III] MOLIERE 235 

[And Armande breaks from La Fontaine 
who is trying to restrain her and rushes over 
and throws herself at Moliere's feet. 

Armande 
Jean, Jean! 

Moliere 
[His hand before him as though to prove to 
his dying mind that it is she.] Armande, is it 
you? Madame, it is time to dress. The play is 
beginning. 

Armande 
Jean, Jean, see I have come back to you, to you 
and to your love. 

Moliere 
[Suddenly the truth comes to him and he 
bends forward and clasps her in his arms.] 
Armande, Armande, only for this little moment 
in eternity. Armande, Armande ! 

[Then for a little space there is silence 
which is broken by the rumbling of a coach 
across the cobbles.] 

Chapelle 
[At the window.] 
Jean, the King, the King! 

Moliere 
Armande, — Armande — ;; 



236 MOLIERE [Act III 

COLINGE 

Master, if you love us do not speak. 

MOLIERE 

Listen, now I hear their laughter. [And with 
his last strength he has risen.] See, all of them 
out there, all of them for ever. [And he steadies 
himself as though to take his curtain call.] I hear 
their laughter, their gay — bright — laugh — 

[And as he falls back dead in his chair, his 
arm strikes the table next to him and from it 
rattle to the floor his mirror and his box of 
make-up.] 

La Forest 

[Throwing herself on her knees before 
him.] 
Master, master! 

[And at this moment the King's Chamber- 
lain enters pompously and noisily to an- 
nounce His Majesty.] 

The King's Chamberlain 

His Majesty the King. Make way for the King! 
[The people standing near the entrance to 
the stage fall back and the next minute Louis 
stands between the curtains.] 

Louis 
Moliere — 



Act III] MOLIERE 237 

La Fontaine 
Sire, you have come too late. 

Louis 
Sir, I am the King of France. 
La Fontaine 
[Quietly, with lifted hand.] 
Too late — for death, the King of Kings, is here. 
[And as La Fontaine steps back all the 
people on the stage fall to their knees and 
Louis alone stands facing the chair where 
Moliere lies.] 

Louis 
Moliere is dead? 

COLINGE 

Master, master — 

Armande 
Jean, Jean! 

[And his dead arms are closed about her.] 

Louis 
[Lifting his hat for the first time in the 
theatre of Moliere.] 
Moliere is dead but in his name will live for ever 
the gay spirit, the brave laughter and the uncon- 
quered heart of France. 

[And as he bends before the dead body of 
Moliere the curtain falls.] 

the end 



